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UBRftRY] 

THE MUSEUM 

OF Wft>D£RN ART 



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JANUARY 1025 



Picture s and Pi chare Quer 






*}-}* 




A Happy 
New Year! 

The " Passing Show " will bring 
happiness into your home 
every week throughout the year. 
Just look what its thirty-six 
pages contain. Humorous articles 
by the merriest writers who ever 
handled a pen ! Drawings by 
the cleverest artists who ever 
wielded a brush ! Stories by 
authors who can keep you 
guessing till the last line ! 
Give your newsagent a standing 
order to-day. 

A New Note in Humour. 

Don't miss the splendid new series, "Fairy 
Tales Re -told," by Ben Travers, 
illustrated by W. Heath Robinson. 
There's a laugh in every line ! 

PASSING 
SHOW 

Every Saturday — 2d. 



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Pictures and Pichjre&uer 



JANUARY 1925 



QEEEEEEEEEEEEEEEEEEEGEEEEEQQ 

Readers of " The Pictur egoer " ! jjj 

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DO NOT FAIL TO- 



1 . Buy the new cheap edition of the book from 
any bookstall. 



2. Buy one of the charming toy dogs made by 

Hamley Bros, from any shop. 

3. Buy a copy of the song specially written and 

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everywhere. 

4. Buy one of the fascinating postcards and 

calendars of the dog made by Raphael Tuck 
and sold everywhere. 

BUT ABOVE ALL DO NOT FAIL TO 

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JANUARY 1925 



Pictures and Pichirevoer 



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ASK YOUR LOCAL THEATRE 

WHEN THEY ARE SHOWING 



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THE WORLD'S GREATEST DOG STORY 



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which h«s been picturized for ATLANTIC UNION FILMS 
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- ALFRED OLLIVANT. 

- HENRY EDWARDS. 



THE 


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Adam M'Adam 


J. FISHER WHITE 


Daoie M'Adam- - 


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James Moore - - 


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Elizabeth Moore 


- - GRACE LANE 


Maggie Moore - - 


YVONNE THOMAS 


Jem Burton - - - 


FRANK STANMORE 


The Squire - - - 


ROBERT ENGLISH 




MJSS THIS PICTURE -ASK FO. 



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Pictures and Pichuretyoer 



JANUARY 1925 



Who 

most 
Film 



is the 
popular 

Star? 




MUST BE WON 

NO ENTRANCE FEE 




THE 

^ Picturegoer 
.dbOOO STAR 

POPULARITY CONTEST 



FREE VOTING COUPON 

Write clearly in inK, in the spaces below, the names of the 
Ten Film Stars appearing on the opposite page, in what 
you consider is therr order of popularity. Coupons must be 
filled in as directed in the Rules and Conditions govern- 
ing this Competition. Then fill in your name and address 
in t he space provided below and post this coupon to the 
" PICTUREGOER," Film Star Competition, 85-94, Loos Acr*, 
London, W.C2. 

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Name 

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Addkfss 

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your 
favourite 
stars 
a n d — 
VOTE ! ! 



THE "Picturegoer" £500 Popularity Contest, 
announced in last month's " Picturegoer " is 
proving a brilliant success. " Who is the most 
Popular Film Star? "is the principal topic of conver- 
sation in Film Land. Thousands of entries have already 
been received and every post brings an ever increasing 
number of Voting Coupons from admirers of the 
"Wonderful Ten. ' 

All that you have to do is to turn your skill to account 
by placing the film stars opposite in what you consider 
will be their correct order of popularity in accordance 
with the popular vote. Your opinion may win you 
the First Prize of £250 or one of the many other 
Cash Prizes that are being offered. 
Remember that all these Prizes m ust be won and that 
there is no entrance fee. Record your vote now on the 
Free Voting Coupon which appears on this page and 
become eligible for one of the huge prizes. 
Every reader of the " Picturegoer ' will take pride in 
seeing that his or her favourite film stars occupy a 
proud position when the final result of this great 
contest is announced. Be loyal to your favourite stars 
and — VOTE ! The final Free Voting Coupon for 
this Great Contest will appear in next month's 
" Picturegoer.*' Don't miss it ! 



JANUARY 1925 



Picture s and Picture $uer 




1. Rudolph Valentino 
6. Norma Talmadge 7. 



The "Wonderful Ten" 

2. Bebc Daniels 3. Ivor Novello 4. Alice Terry 5. Harold Lloyd 
Ramon Novarro 8. Jackie Coogan 9. Gloria Swan»on 10. Betty Compson 



Rules and Conditions 

governing the " PICTUREGOER " 
£500 Film Star Popularity Contest. 

1.— Acceptance of these Rules and 
Conditions is a specific condition of 
entry for this Free Competition, and 
the decision of the Editor of the 
" Picturegoer " upon any point 
whatsoever must be accepted as 
final and legally binding. 

2. — On this page appear the photo- 
graphs of ten famous Film Stars. 
Decide in your own mind which of 
these ten Film Stars will be regarded 
as the most popular by the general 
public. Then write his or her name in 
the first space on the Voting Coupon 
which you will find on the opposite 
page. The name of the Film Stai 
whom you consider will be regarded 
as the next most popular should be 
written in the second space and so 
on until the names of each of the 
ten Film Stars have been filled in. 

3. — The popular order will be 
determined by the totals of the 
votes received from competitors 
themselves. That is to say the most 
popular Film Star will be deemed to 
be the one which receives the largest 
number of votes for the first place. 
The second will be the one which 
receives the greatest number of 
"votes for second and first places 
added together, and so on. 



4. — The Competitor whose list 
agrees, or most nearly agrees, with 
the popular order as determined by 
the Competitors themselves, will 
receive the first prize, the next 
nearest will receive the second prize 
and so on. 

5. — In the event of a tie, the 
Editor reserves the right to com- 
bine the prizes so affected and to 
divide the amount or amounts 
equally amongst those competitors 
who tie. 

6. — All votes must be recorded 
in ink on the official Voting Coupons 
which must not be altered or muti- 
lated in any way, and the com- 
petitor must write his or her name 
in ink in the space provided. 

7. — Proof of posting cannot be 
accepted as proof . of delivery or 
receipt, and the Editor will not be 
responsible for any entries lost, 
delayed or mislaid. 

8. — No correspondence may be 
entered into in connection with this 
Competition. 



9. — The Editor may disqualify any 
competitor for non-compliance with 
these Rules and Conditions, or for 
any other reason he may consider 
good and sufficient. 

10. — This Competition >s limited 
to " PICTUREGOER " readers in 
the United Kingdom, the Irish Free 
State, the Channel Islands and the 
Isle of Man. 



The result of the Competition will be 
announced in the "Picturegoer," and 
every prize winner will be individually 
notified. Final Free Voting Coupon 
will appear in the February issue of the 
"Picturecoer." Competitors may send 
in as many attempts as they like 
provided that each attempt is sent in 
on a Free Voting Coupon cut from the 
" Picture! oer," The closing date for 
receipt of Voting Coupons will be an- 
nounced in the February issue of the 
" Picturegoer." 



IMPORTANT. — There will be a tremendous demand for 
numbers of the "Picturegoer," containing Free Voting 
Coupons for the Great £500 Film Star Popularity Contest. 
Don't risk the reply " Sold Out " but place a standing 
order with your newsagent. Order Form appears on Page ?3. 



FINAL FREE VOTING COUPON APPEARS NEXT MONTH 



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£earn 

(Jasjfiion 
Sketchin<j\ 

and earn bifftnoneyx 

If you have any drawing ability at \ 



JANUARY 1925 



that Editors want. 

sold. Introductions to positions 



all we can teach you, either personally i 

at our Studio or by post in your own ■ 

home, to produce the sort of Fashion work ■ 

You can earn while learning. Sketches bought and E 

Write for particulars . — The Secretary j 



COMMERCIAL ART SCHOOL 

12 & 13, HENRIETTA STREET, STRAND, LONDON, W.C.2. 
Poster Designing. Black & White and Story Illustrating also taught. Established 1900. 



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IN S1ALED WCKET3 ANDTINS **HOM AI.L CttOCERS 




Discovers Amazing 
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Alois Merke, Founder of Famous 
Merke Institute, Perfects New Method 
Which Brings Results in a Few Days. 

WILL baldness soon be a thing of the past? So it 
would seem — at least, if we are to judge by the seem- 
ing "miracles" being performed daily at the Merke 
Institute. For here hundreds of men and women — 
many of whom were almost completely bald — are rapidly 
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without even a trace of bald spots. As for dandruff and 
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The discoverer of this new method is Alois Merke, a der- 
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At the Merke Institute Alois Merke has treated scores of 
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Free Booklet about New Home Treatment. 

Through special arrangement readers of this publication may secure 
without cost all details of this new home method to make hair grow. A 
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on receipt of the coupon below, properly filled in. No matter how long you 
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THE TREAT- 
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ALLIED MERKE INSTITUTES, Inc., 

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Please send me a copy of your free booklet, " The 
New Way to Make Hair Grow," which describes 
the Merke Institute home treatment in detail. 
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Name 

Address 

Town 



JANUARY 1925 



Picture s and P/churepver 




10 



Pictures and P'cfureooer 



JANUARY 1925 




SYD CHAPLIN 

Formerly known as Charlie's brother, latterly as " Charley's Aunt." Has 
been Utility Man and business manager for Charles Chaplin for over six 
years. You've seen him in most of the Chaplin comedies, in small but 

difficult roles. 



JANUARY 1925 



?£R 



Pictures and PichweVve' 



«iS 



11 



PICTURES AND 



TH& PICTURErCOE-R 



T M E S C R E E M 



N/1 XK 



I M 



VOL. 9. No. 49. JANUARY, 1925. 



Editorial Of fun 
93. Long Acre, London. 



Hrgtitertd for Trammiimon 
hy Canadian Magaxtnt Pott 



Pictwre&oer Pi iv Pricks 



All the stars are allowing them- ••' I ' he blowing 
selves to be modelled in wax of the nose.'' 

for window tammies. Are says George 

they waxing because they're wan- Fitzmaurice, 

offers excellent 



me 




L 



4 

Colleen Moore 



ove," says 
Colleen 
Moore, "is a 
Song!" She does 
'not go into details, 
but she means, I take 
it, " £ove's Old 
$weet $ong !" 



Sylvia Breamer is to marry and 
retire from the screen. There 
are several stars for whom I 
could wish the same happiness. 

Carl Laemmle, President of 
Universal Pictures Corpora- 
tion, wants 
to see the adoption 
of a universal 
language. But it I 
was very unkind L ^'t?* 
of his publicity W& 
man to spell uni- f|^ *^Lr 
versal with a capi- 
tal " U." Rude 
people might mis- 
understand. 




Carl Laemnue 



In answer to the person who 
wants to know how many 
actors and actresses there are in 
Hollywood, the truthful reply is 
" About one of each." 

Unless somebody's telling lies — 
which is more than likely — 
Mary Pickford's nesit film is 
going to be " Cinderella." The 
rumour that Valentino and 
Novarro are going to play the Ugly 
Sisters is, however, definitely 
untrue. 



opportunity for the 
use of a handker- 
chief." Isn't it nice 
to think t'.'at his 
stars don't use the 
back of the hand? 




Fitzmaurice 



Norma Talmadge thinks all her 
good fortune springs from a 
diamond and sapphire pendant, 
Joseph Schenk's first gift to her. 
Dear, dear ! And I had always attri- 
buted it to genius. 

Little Farina has been kicking 
his director on the shins. There 
is a strong feeling among the 
stars in Hollywood that Farina has 
taken an unfair advantage of his 
being only four years old. 

Says a press agent : " Rest 
assured we have got a worth- 
while entertainment, or else 
I would not be asking you to waste 
your time." Contradictory, per- 
haps, but singularly truthful ! 

The scenario writer is a gentle- 
man who spends his time in- 
forming the public how 
successfully the novelist has pulled 
their legs. 

Speaking of A 
Society Scandal 
a writer says 
that Gloria Swan- 
son is resplendent 
in dinner frocks 
and the last word 
in sports clothes. 
And "last word" 
just about- 
describes them. 1 




believe me ! 



Gloria Szvanson 



Doris Kenyon wears the loveliest 
gowns ever seen on the screen 
in Lend Me Your Husband. 
I can't think why she needs a hus- 
band when she's got all those clothes. 

Producers are unanimous that 
with every picture they make 
they progress. There are two 
ways of progressing, of course, but 
unfortunately none of them speci- 
fies the direction. 

Thomas Meighan believes above 
all things in the power of x 
coin he picked up in the Toboga 
Islands. And I know other stars and 
producers who believe above all 
things in the power of coins. 

-j^^^^ ^ A n t o n i o 

t^P^^^^ A\ M o r e n o 

^ is to star in 

4V M arc Nostrum. 
«l <*j£ 1), There is no truth 
^ in the rumour that 
he has been per- 
suaded to spell his 
name Mareno for 
box-office pur- 
poses. 
Tony Moreno 

<>T think the way Peter Pan 
praises his own cleverness is 
the most delightful thing about 

him," says Betty Bronson. 

Yes, Betty's a star all right. She 

knows the important things in the 

game ! 

Alma Ruben 
has ex- 
pressed a 
desire to play in 
a pirate picture. 
That shouldn't be 
difficult. Once 
Peter Pan is 
finished no pic- 
ture will be any- 
thing but. 
THE WASP. Alma Rubens 





12 



Pictures and Pichjre$<oer 



JANUARY 1925 




Dangerous Age 




We live in an age of sophistication, for bashful youth 

rules the screen no longer. The man of experienced forty 

now stands supreme in the eyes of fandom. 

Forty . . . and fascinating. One doesn't say, you notice, forty but 
fascinating. There's something about those forties . . . some- 
thing devastating. Especially among the men. 

Time was when a matinee idol in his late thirties carefully 
guarded his secret. The public, it seemed, would not like him if they 
knew he was past his first youth . . . married . . . with several 
youngsters running about at home. That was the skeleton in his closet ; 
his age was his guilty secret. 

But that was years ago. We know better now. In fact, the situa- 
tion is quite reversed. For now, not only are most of our stage and 
screen lovers past forty . . . they are proud of it. They not only 
admit that they are past their first youth . . . they boast of it. 

" We're forty," they tell the world, " and we don't care who 
knows it \" 
What's the reason? 
Why have the forties suddenly become known as the dangerous 

Why has it finally come about that the screen idol of forty 
is the why of girls leaving home to go to the movies? Why 
does the feminine heart quicken, the girlish eye grow wistful, 
at the lure of a man of forty? 
Why? 

There is only one answer. 
Sophistication ! 

This is the era of the sophisticate. Gone is the 
charm of the bashful youth learning " How to Make 
Love ... in Three Lessons." 

Instead . . . we have our Conway Tearles, our 
Adolphe Menjous, with their studied glances, their 
lifted eyebrows, their air of subtle mockery. They 
have learned the art of love-making; with rare 



Top left : Tom 
Meighan, the 
Good Luck star, 
who carries his 
years and his hon- 
ours ivith great 
grace. Right : 
Conzvay Tearle. 
born in 1882 and 
first favourite 
with the fans. 



Above: Eugene 
O'Brien, an old- 
timer zvho faded 
out for a while but 
in "The Voice from 
the Minuet " and 
"Secrets," proved o 
greater draw than 
in his first days 
as a movie favourite 
Right : Adolphe 
Menjoit, whose 
entirely Gallic fas- 
cinations have won 
him a niche all his 
oien in scrccnland's 
gallery of popular 
personalities 




JANUARY 1925 



Picture s and Pichjre poer 



13 



exceptions, it takes a MM until he's 
forty to learn it ! 

Not that such men were not charm- 
ing in their youth, fascinating perhaps, 
even then. Boyishness has a charm of 
its own. But it hasn't the poise, the 
self-assurance, the irresistible compo- 
sure that only experience can bring . . . 
the composure of a Menjou or a 
Tearle. 

The composure that makes Conway 
Tearle one of the most sought after of 
all screen leading men . . . though he 
was born in 1882, and admits it ! His 
box office value is second to that of no 
other masculine lead — exclusive of 
stars ; he is engaged to play opposite 
stars much younger than himself, like 
Corinne Griffith, Colleen Moore, Pola 
Negri. . . 

Conway's years on the stage and 
screen have given him a polish, a 
finesse, that it takes years to acquire. 
Time has taught him the tricks of the 
trade of love-making, that trick of bis, 
for example, of looking bafflingly and 
mysteriously inscrutable ... so that no 
matter how often he told a woman h; 
loved her, she could never be quite 
sure. We are speaking only of Con- 
way's screen personality . . . though it 
might not be amiss to mention that he 
has been married three times, the 
charming Adele Rowland being his 
present wife. 

And Adolphe Menjou. When, in a 

Neither Douglas Fairbanks nor John 
Barrymore will ever see forty again, but 
the faet doesn't worry them. 




youth of twenty, would you find the 
debonair charm of Menjou, the delicate 
life of the eyebrow, the delicious 
twinkle of the eye . . . half ardour, 
half mockery! Watching life, laugh- 
ing at life . . . that has given Menjoi 
his gallant, irresistible charm. 

Lou Tellegen's forty-odd years have 
taught him not to take life, or him- 
self, too seriously. He once, in 
conversation with the writer, laugh- 
ingly referred to "my reputation, 
which I never live up to." . . . Lou 
Tellegen, Geraldine Farrar's former 
husband, once played, most appro- 
priately, the title role in Don 
Juan. 

ETugcne O'Brien was born in 1884, 
yet still retains a large fan follow- 
ing. Is it the quizzical quirk of 
his eyes, the way, one-sided smile, 
that gives his personality such 
distinction? 

Thomas Meighan's charm is of a 
different sort. His is not the 
debonair, subtle raillery of the seduc- 
tive lovgr. Rather he represents 
the wholesome, manly type, to whom 
experience has given a poise, a firm- 
ness of character. He is the typical 
American husband, not only on the 
screen, but in reality, having been 
married for many years to Frances 
Ring; they are one of the most con- 
tented couples in filmdom. 

Milton Sills is similar to Thomas 
Meighan in type. He, too, typifies 
the substantial American husband, 
of more or less intellectual calibre. 

When speaking of the " dangerous 
age," certainly one must not forget 
Lewis Stone, who played the lead in 
the picture of that name. He has an 
enviable fan following, even 
though, he is well into the 
forties. 
Again it is the merry 
tinkle, seeming to charac- 
terise most of our forty - 
! rear-old screen 
overs, which gives 

Lou Tellegen is 
forty, too 





Lewis 
Stone. 



Lewis Stone much 
of his charm. 

Douglas Fair- 

banks at the age 
of forty - one is 
the personification 
of good humour, 
and a happy outlook 
on life. 

In fact when one 
analyses the tem- 
peraments of these 
men in their danger- 
ous forties ... in 
spite of their general 
dissimilarity, one 
characteristic stands 
out in every one of 
them. They survey 
life with a twinkle. 
Alma Talley. 



14 



Pichjres and P/chjrepuer 



JANUARY 1925 



empasts 




SP** 



Tragedies 

There's a storm waiting every time some- 
body leaves home in the Movies. 

« ^"V ut of my house you go ! You 
I 1 are no longer a son of mine," 
^^ says Father. Mother ven- 
tures a gentle remonstrance, 

Father never heeds her, 

strides to the door 

and flings it open. 

Enter snow flakes or 

rain drops as the case 

may be. Exit, after 

a short, dramatic 

pause and a longer, 

less dramatic close-up, 

the disinherited heir, 

sans hat, sans mac, 

sans goloshes, sans 

everything. 
You've all seen it. 

No one, or hardly 

anyone, in films has 

ever left a house in 

the throes of some 



\ <# 



*t> +■ 



i I 



WM 



■ 






•*«*• 



Al 



E*fe* 



Tfl« gentleman in "Arabella" repented at leisure in a snowdrift 



Reading 

downwards : 
Rod La Rocque 
has had many 
battles with the 
elements. Anna 
Q. Nilsson as a 
tempest - tossed 
heroine; and 
Gladys Leslie 
ready to go out \i \ 
into the cold, 

cold world. 

great emotion without being drenched to the skin, buried 
in a snow-drift, stunned by hail-stones or struck by 
lightning. There seems to be a storm waiting every 
time someone leaves home. Mother shows son the door — 
rain — The Ten Commandments. Burr Mackintosh 
sends Lillian Gish away — snow — Way Down East. Girl 
rejects a lover — long walk in the rain for the unhappy 
wight — Daddy Long Legs. Hero saves heroine from 
unwelcome marriage — thunder and lightning — Dozen to 
the Sea in Ships. The list can be lengthened to suit 
individual requirements. 

[ ct us classify storms. One — the Storm 
Emotional. This is used as a means of show- 
ing by the elements the mental state of the 
mortals, as rage — thunder and lightning; sorrow — rain; 
turbulent indecision — wind. Then there is the Storm 
Interventive. This variety comes to the aid of heroes 
at critical moments. The villain draws a knife and 
rushes at the defenceless hero — by the way, did I 
mention that the scene of the combat is a lonely heath 



JANUARY 1925 



Picture s and Picture puer 



is 



Left : Leatrice Joy 
stormnvept twit <■ i« ' 
Ten Commandments' 
The first time 
Rod La 
Rocque 
mi tied 
her 



The 



on a very dark ana very 
stormy night? nothing can 
save the hero, he is lying- 
half-stunned and the villain 
is bending over him gloat- 
ing with ghastly glee, the 
audience gasps, can any- 
thing save the hero? Of 
course it can; a streak of 
lightning appears, a tree 
crashes down, crushes 






,\ 



W 



Above : Rehearsing the Red Sea Passage 
in " The Ten Com- 
mandments." 



this he is probably 
correct, for there is 
something definitely 
awe-inspiring in the 
spectacle of warring 
elements. 

It was the sight 
of Nature in a tur- 
moil that, added to 
wonder at the 
mechanical genius 
/ behind the scenes 

made the division 
of the Red Sea in 
The Ten Command- 
ments such a thrill- 
ing spectacle. 

Another variety 
is the Storm Elimi- 
native. This some- 
times usurps the 

(Contd. on p. 81). 



Above : After 
Leatrice Joy's 
second "Ten 
Command- 
ments " drench- 
i n g Richard 
Dix read burn- 
in g passages 
from the bible 
to her. Right ■ 
The heroine 
■who came pre- 
pared (Shirley 
Mason in "Very 
Truly Yours.") 
Left : When the 
elements b e - 
haved like this 
i » " *» BWw WWWWWW W ■• ■■ "The Town 

That Forgot God," goodness only knows what the Characters were going through. 



tne villain to death and most obligingly 
misses the hero by a matter of inches. 
The hero gets up, feels himself all over 
and staggers off to the heroine, thanks 
to the friendly elements alive and in 
excellent health. 

Then there is the Storm Suspensive. 
A very hardy annual this one. Who 
did not thrill to see Lillian Gish in 
Way Down East floating to a horrible 



death on an ice floe with Richard 
Barthelmess frantically floundering to 
her rescue? 

Who did not ' sit tighter ' when 
Carol Dempster in One Exciting Night 
was pinned to the ground and only one 
slender bough prevented an oak tree 
from falling on her? But then D.W.G. 
often calls in the elements in order to 
supply his famous ' suspense,' and in 



16 



Pichjres and Pichuretyver 



JANUARY 1925 



What" ki r\ema Markers Say 




Captain Alfred Davis. 

In view of the wide-spread interest 
that picturegoers are taking in our 
great Voting Competition, the views 
of leading kinema managers regard- 
ing this contest are well-worth quoting. 
Below we give a selection from the 
letters received from famous picture- 
theatre managers who are schooled to 
follow every bent of the public pulse. 

Captain Alfred Davis, the proprietor 
of Marble Arch and Shepherd's Bush 
Pavilions, writes : 

"I consider that the PICTURE- 
GOER £500 Film Star Popularity 
Competition is performing an excellent 
service, and I feel convinced that it 
will be the means of winning many new 
patrons to pictures." 

" I consider your scheme for the £500 
Popularity Contest both a brain-wave 
and a wonderful advertising scheme, for 
the result is going to be very interesting 
and very helpful both to the public and 




Some Interesting Comments on our 
Great Voting Contest. 

the exhibitor," writes Mr. Leslie 
Olgivie, of the Broadway Palladium, 
Ealing. 

" In these days of the rapid stride of 
the Kinema Industry and the ever in- 
creasing numbers of the clever aotors 
and actresses who are fast stepping to 
the front, it is somewhat puzzling to 
know whose pictures to choose. 

" I have found that the general public 
will always remember a star and will 
choose a picture in which their 
favourite is appearing; whereas, they 
do not remember the actual film or 
story. Therefore, from a trade point 
of view your scheme is going to be very 
valuable in helping us to find out who 




Mr. R. H. Ainsivorth. 



Mr. James Forsyth. 

really holds the greatest public affec- 
tion." 

Mr. Leonard W. Kent, of the Fins- 
bury Park Cinema, writes : — 

" I have welcomed the opportunity 
of co-operating with the PICTURE- 
GOER in the £500 Film Star Popularity 
Competition, as it will give my patrons 
a more intimate interest in their film 
favourites, and make the Kinema an 
even more popular entertainment. 

" A determined effort is being made 
to bring the First Prize to Finsbury 
Park." 

Mr. James Forsyth of the Shepherd's 
Bush Pavilion, writes : 

" It is my opinion that a competition 
carried out on the scale of the PIC- 
TUREGOER Popularity Contest is a 
decided link between the screen and the 
public. It will do much to help in the 
campaign against the " Antis," by which 
I mean those high-brow people who still 
look upon the screen and the Cinema 
in the same light as they look upon a 
penny gaff or a circus. 

" There are still people, I am ashamed 
to say, who have not heard of the mar- 
vellous strides that the modern Kine- 




Mr. Leonard Kent. 

matograph Theatres have made. 

" Make no mistake. It is splendid 
magazines like the PICTUREGOER 
that help this campaign. You are help- 
ing to bring before the public, by means 
of tasteful illustrations and popular 
competitions, the fact that the kinema 
is getting near to the top-rung of enter- 
tainment both for the classes and the 
masses." 

Mr. R. H. Ainsworth, of The Regent, 
Brighton, writes : 

" I consider the above Competition 
to be an excellent medium for further- 
ing the public's interest in the silver 
screen. 

" The display in and outside my lobby 
has already created so much interest 
that one hears on all sides — ' Who is the 
most popular Film Star?' Judging by 
the interest my patrons are taking, 
Brighton should be well represented in 
theultimate result of the Competition. " 




^A M Hi 



Mr. Leslie Olgwie. 



JANUARY 1925 



Picture s and P/chjre <poe" 



17 




M< 



lore fascina- 
L ting than any 
Cross-word Puz- 
zle is PICTURE- 
GOER'S great 
£500 Popularity 
Contest, and 
the rewards 
are on par 
with the fascina- 
tion. Don't miss 
the free voting 
competition given 
on page 6. 



£500 8&&S 

Great FKeeVobir\$> Competition 

TTERE is a competition for PICTUREGOER readers only, 
■ ■ a simple, straightforward contest that will appeal to every 
kinema fan. All you have to do is to place these ten movie 
stars in what you consider to be their order of popularity. 
Handsome cash prizes are to be won. Don't delay. 






Can you place 
these ten 
screen stars in 
order of popu- 
larity? If you can 
anticipate the 

voting of the 
majority of our 
readers you may 
win one of the 
handsome cash 
prizes offered by 
THE PICTURE- 
GOER in connec- 
tion with this con- 
test. 




Is Harold Lloyd 
more popular 
than Rudolph 

Valentino? Do 
you consider Ivor 
Novello the 
greatest star of all 
or does your vote 
go to Jackie 
Coogan? Perhaps 
you are a Norma 
Talmadge fan? 
Get busy and vote 
to-day' 




N 



o r m a Tal- 
madge, Alice 
Terry, Gloria 

Swanson, Betty 
Compson, Bebe 
Daniels, Rudolph 
Valentino, Jackie 
Coogan, Harold 
Lloyd, Ivor 
Novello, and 
Ramon Novarro 
are the candidates 
for this contest. 
How do YOU 
appraise their 
popularity? 





T^ell all your 
* friends 
about this 
great contest, but 
don't lend your 
PICTUREGOER 
to anyone lest it 
be returned to you 
minus the all im- 
portant coupon ! 
It's that first prize 
of £250 that 
everybody will 
want! 




Remember, 
there will be 
another free vot- 
ing competition in 
next month's 

PICTUREGOER 
and readers may 
send in as many 
entries as they 
like provided that 
each entry is 
made on an 
official coupon. 
How many lists 
are YOU sending 
in? 



> V^".f: *:rj^^r'£fz 




18 



Picture s and Pictvrep oer 



JANUARY 1925 




Klimnfe 



<J&T W.-A.miJicsjiisort 




c Profundis — Out of the Depths 

— that labels my case all right. 

For I was dead, till I learned 

to live, and blind till f got my 

sight. 

A humble, simple, ord'nary man like 

hundreds of others you see 
Turning Life's treadmill and moaning 
complaint : " Nothing ever happens 
to me !" 

Nothing did. Romance knew me not, 

and adventure passed me by 
Born in a rut to live in a rut, I guessed 

in .a rut I'd die. 
The same old round in the same old 

way treading the same old trail 
I'd have sold my soul to escape the 

grind, but I hadn't a soul for sale. 

No soul of my own. I was roped and 
I tied like a steer on branding-day. 
Slave of routine I carried on in the 

same old footling way. 
The same old office, the same old work 

with never a change of scene, 
To town each day on the eight-eleven, 

and home on the six-fifteen. 



me. 



I- 



& 



Recreations? No good to 

knew for I'd tried all sorts. 
I wanted taking out of myself, and who 

gives a hang for sports? 
Back of my mind I'd a fixed idea, a 

glimmering dream of Romance, 
That though my life was a dreary 

death I could live if I got the chance. 



But nothing happened. I never knew 

the madness of clinging lips, 
Nor the ocean lure that brings a vision 

of down to the sea in ships. 
The call of the open spaces came to 

others but not to me, 
And never a novel could guide my steps 

to the slopes of Arcady. 

But who can fathom the riddle Life, or 
the way that Fortune works? 

I have found the way to my land of 
dreams where the Unexpected lurks. 

I have dodged the clutch of the Com- 
monplace, I have slipped through the 
Magic Door, 

I have purchased a passport to Fairy- 
land — and the price was two-and- 
four ! 

A red-plush seat in a darkened hall 

where a man may sprawl at his ease, 
Whilst mystic music floats through the 

gloom like siren melodies. 
A splash of light on a black-edged 

screen ; vague, shadowy forms that 

weave 



A magic carpet to carry you off to the 
Isles of Make-Believe. 

A magic carpet that shows you the 

world as one long Arabian Night, 
And makes you Caliph of land and sea 

— a king in your own free right. 
Not Selkirk vaunting his majesty or 

that lonely desert isle, 
Had half the pride that belongs to me 

when I bask in the screen's glad 

smile. 

Re-incarnation is rot you think? But 

there's something in it to me. 
I have trekked and traversed the whole 

wide world in the wake of a soul set 

free. 
I have followed my soul to the glorious 

goal where Achievement holds the 

bays 
The things I have seen will inspire my 

life to the end of my worldly days. 

I have braved the horrors of old Cape 

Horn with a ranting, rollicking crew, 
On a ship that threatened to go to bits 

with every wind that blew. 
I have travelled West with the pioneers 

on the Trail of 'Forty-nine. 
I settled the hash of a Kaffir gang in 

the depths of a diamond mine. 

I have fought the wiles of a Southern 

vamp I have won the smiles of a 

queen, 
And billed as the " Reason Why Girls 

Leave Home," in melodrama I've 

been. 
I have crossed the Main on a Pirate 

ship on the track of Treasure Trove 
I have lived in fantasies stranger far 

than De Quincy or Poe e'er wove. 

I have loved and lost. I have loved and 

won — and passed through my life 

heart-whole ! 
Pauper, genius and millionaire — I have 

figured in every role. 
I have followed Fortune in Southern 

Seas, I have bathed in the Blue 

Lagoon, 
I have crossed the land of Eternal Ice 

by the light of a frozen moon. 

You may sneer at the films, you may 

jeer at the films, but the screen's my 

greatest friend, 
And I know full well that the bond will 

last till I come to my journey's end 
There is nothing a man can ask of Life 

that the screen will fail to give. 
I'll follow my fate with a smile on my 

lips Thank God ! I have learned 

to live ! 




\y 




'/ 





^Zz 



\^^K 




JANUARY 1925 



Picture s and Pi chare puer 



19 





RUDOLPH 

VALENTINO 
d 

Rudy and Natacha say good- 
bye to the Hudnuts and turn 
their faces towards Italy, and 
Rudy's home town. 

side, turned his face, already 
pale and fixed in the final linea- 
ments of death, held out the 
crucifix and said to us, " My 
boys, love your mother and, 
above all — love your country."' 
I often think that such en- 
durance as came to me in my 
later trials, my days of star- 
vation and privation in New 
York, may have come to 
me direct from that brave 
and gallant little figure of 
my mother. For she had 
earned a stern lesson 



On the way from Genoa to Castellaneta. 

I left Daven beginning his study of 
English, plus his study of all phases 
of screen art with as much assiduity 
as he had formerly been against it. 
That is an advantage the student has 
over the dilettante. They will master 
a subject or an art — students will, I 
meant. And a master is ahi-ays a 
superior. He holds the whip hand. 

To-day we were packing again for 
the onward move. 

Natacha and Mr. and Mrs. Hudnut 
and Auntie, who is again to accompany 
us on the rest of our journey, have 
severally extracted promises from me 
to .have some respect for our 'necks if 
none for the laws of gravitation, and. I 
have given those promises with sternly 
compressed lips, drawn brows and utter 
solemnity. But what is a man to do 
when the dream of speed possesses him 
.... ah, then . . . 

To-morrow we shall be on our way. 
We had planned to get away to-day, but 
what with drowsing in the sun and 
listening to Mr. Hudnut's plea that we 
remain over one more day . . . and 
being nothing loath to do so . . . we 
are still here to-night . . . to-morrow 
we go ... . Italy ! 

August 24th. 
T have another Genoan night in which 
to write in my diary. I had expected 
to go on, but Natacha is feeling rather 
badly. I begin to fear that she will not 
be able to " make the grade " with us 
all of the way. 




L «m 




- %■ 



Auntie and I laugh at her and tell 
her she should have OUR strength and 
nerve, but when it comes to the afore- 
mentioned dirt, dust and dishevelment, 
PLUS my driving, which I am sure 
Natacha would describe as " reprehensi- 
ble," it is a bit too much for Natacha's 
sense of humour. 

I have often noted about women that 
they can stand up under the most tre- 
mendous strains, the most devastating 
calamities, and will break under some 
slight thing — such as motoring on one 
wheel, for instance ! 

My own mother, one of the bravest 
women I ever knew, was an illustration 
of this observation. There was some- 
thing very close and beautiful, very 
dear and intimate between my mother 
and my father. Theirs was one of the 
world's great loves. 

Woman's holy courage was first re- 
vealed to me in my mother. I saw it 
first at my father's death-bed, even as 
I saw his part in it when he called' my 
brother Alberto and mvself to his bed- 




in the class-room of courage and forti- 
tude. Even her early life was a prepara- 
tion, for she had gone through 
the terrors and privations of- the 
siege of Paris. She was the 
daughter of Pierre Filibert Barbin, who 
was an erudite Parisian doctor and had 
fallen in love with Giovanni Guglielmi, 
then a dashing figure of Italian cavalry. 
A captain, in fact. She married him in 
the flood tide of romance, and he took 
her to his home town, the little village 
of Castellaneta, to live. But I shall 
come to that later on. There, on the 



20 



Pict\jrQS ar\d PicfrjreOuer 



JANUARY 1925 



very scene of my birth and boyhood, 
little memories shall come crowding 
that now I can glimpse in retrospect. 

This digression began through my 
anxiety for Natacha. I fear that she is 
not as strong as she might be and that 
perhaps this trip is going to be too 
much for her. At first I had hoped 
(tried to believe), that her nervousness 
was a purely feminine thing, a whim 
of dust and discomfort, but I feel now 




A snapshot of Rudy and Natacha taken 
before an historic Florentine ruin. 

that I should have known Natacha 
better than to suppose she would indulge 
herself in anything only of the imagina- 
tion. I shall watch her more carefully 
from this time forth. 

Does one ever know women? 

One learns the ways of their hearts 
and finds that after all one has learned 
only a part. I think 1 shall profess 
ignorance, which will doubtless be the 
beginning of my real knowledge. 
Ignorance so often is, when we ack- 
nowledge it . . . 

Dut to go back and take up my story 
where I left it last night, at that first 
Italian luncheon table. I was about to 
recount an amusing incident that 
happened to us there : 

You see, I had been away ten years. 
I didn't know whether the cigarettes 
were as good as they had used to be. 
and they used to be, I thought, very 
good indeed. Since I landed at Cher- 
bourg, I have learned how many 
American things are superior to Euro- 
pean ones; the chorus girls, the women 
in toto, the theatre, the food, etcetera. 
I have come to be prepared for dis- 
appointment. And this philosophy of 
disappointment included cigarettes, 
which are so much a part of the smaller 
pleasures of my daily life. 

Well, we had brought with us some 
cigarettes. As I crossed the frontier, I 
of course, declared them — and the duty 
is something frightful. I paid 600 lire 
for 600 cigarettes — a lire apiece. At 
the rate of 24 lire for one dollar this 
would figure out about five cents apiece. 



Of course the Macedonian tobacco 
sold in Italy is marvellous. The best 
tobacco in France is Egyptian, Mary- 
land or Virginian. The Maryland 
brand is terrifically strong. For people 
not used to it, it all but chokes you. 
Very strong. But Italy has this mar- 
vellous Turkish tobacco. It is a 
Government monopoly, and, like all 
monopolies — American jewels and 
gowns, for instance — is taxed. 

Well, at lun- 
cheon I ordered 
some Italian 
cigarettes just 
for the curiosity 
of the thing, and 
when I started 
smoking them, I 
found them even 
better than be- 
fore. Oh, much 
better ! Really 
very much bet- 
ter than my 
favourite cigar- 
ette I had so 
precariously and 
so expensively 
procured for my 
consump- 
tion. Natacha 
had a mar- 
vellous time 
kidding me 
about my bring- 
ing them into 



tune and so you have come home now !" 
" No," I said, getting " on " to him, 
" not quite what you think, my friend. 
I work for my money." 

He looked kindly, but scarcely con- 
vinced. Wasn't Natacha sitting by me, 
beautifully dressed, an American ! 
Hadn't I been away for ten years? 
Wasn't I returning in a partially 
triumphal and luxurious manner? What 
more did he need to know? Hadn't he 
seen " this sort of thing " before? 

1WTY name meant nothing to him. Less 
than nothing. A rural rarabhrere. 

He wouldn't have seen my pictures. 
Hardly any of the pictures in which I 
have appeared have been shown in 
Italy. I knew that much before I 
arrived here, but so great and wide- 
spread is picture publicity in America 
yes, and in London, too, that while I 
knew the facts of the case, it seemed 
hard to believe that no word of it all 
had reached parts of Italy. 

Well, it was six o'clock when we got 
through with the authorities. 

We were fairly near Genoa : had only 
250 kilometres still to go. But the 250 
kilometres were over a tortuous road 
following the coast. Gorgeous road in 
the matter of scenery, but terrible to 
drive through. 

The road seemed to be the only factor 
of the landscape unaware of the glory 
of the season. Dirt ! Dirt ! Dirt ! We 
thought we had come through dust and 




the country ! 

Another funny incident occurred as 
we crossed the frontier. 

""The first thing I had to do was to have 
my passport locked over by a cara- 
biniere, then by the Custom House 
Guard, who in Italy belongs to a unit 
of the Regular Militia. When the cara- 
biniere had look at my papers he asked 
me in Italian how long it was since I 
had been in Italy. I told him ten years. 
" You married an American," he said, 
with a very knowing look, as if quite 
accustomed and slightly amused at this 
order of things, " you made your for- 



dirt before. 
but now that 
we are in 
Italy, we 
realise that 
we were but 
amateurs before. 

When we finally got into Genoa, it 
was midnight. And here in Genoa, at 
midnight, Natacha had a nervous break- 
down. 

Between the dust, the rumbling of 
the motor, the sense of impending and 
immediate danger, she was absolutely 



JANUARY 1925 



Picture s and P/chjre pver 



21 



fagged out. The strain that has been 
telling on her all along came to an end 
A collapse. It was just the last straw. 
This is why we have remained over 
the other day. 

To see Natacha so was a shock to me, 
too. For I have never seen her so 
before. She sobbed and wept like a 
child, and could not be quieted. I was 
up with her most of the nit^ht, doiivg all 
of the soothing and calming things 1 
could think ot" doing. Toward morning 
she fell asleep and awoke this morning, 
nearer noon than early morning, feeling 
refreshed and quieted and insisting that 
she was quite all right to go on as we 
had planned. 

Chortly after luncheon, which I in- 
sisted upon Natacha taking alone 
in her room, we went out, and looked 
about Genoa a little. We spent about 
an hour roaming about, then I made 
Natacha rest for half an hour, and after 
that we drove out to the Agricultural 
College where I had spent a part of my 
youth. 

Most of my old professors were away 
on their vacations and I did not have as 
Rudy and t'a'o friendly bullocks. These an 
on the Italian country 



with some acidity, that since my time 
the boys who had been there were " a 
pack of cowards and fools," and that he 
often said to them, " It Guglielmi were 
here, he'd show you bow to handle :' 
bull! He could handle them well, and 
never was afraid of them I" 

I quite preened under this compli- 
ment. There is enough of the small boy 
in me still to feel a swelling delight, a 
sense of prowess at this particular form 
of flattery. 

It is true thai I was, always hav 
been and still am, crazy 
about cattle. Some day 
. . . but that is another 
story ! 

Luigi and I rambled on 
and on. I asked after this 
and that class-mate, get- 
ting, as one does, a variety 
of stories, some happy and 
full of honours, some bitter 
with disappointment, a 
death or two, some tragedies 
that made me very sad, as 
I recalled the carefree, 
ambitious, gay youngsters 
we had really been at the 

imals are u.ed instead of horses 

roads. 



the fad that they could not understand 
one word oi dialect And the 

cold of the Italian night coming on 

swiftly almost froze them. 

I tlimk I shall have to rise early in 
the morning to finish ins I can't keep 

Natacha awake by my scribbling, and 

SO many things com. into my mind to 

say that 1 could keep on indefinitely. 

More in the early dawn, when I shall 




'4 



many to reminisce with as I might have 
had at another season of the year. But 
the old gentleman who had charge of 
the cattle in my time was still there — 
and still in charge. He was in charge 
of the Suisserie, where only the 
thoroughbreds are kept. Luigi is his 
name. We called him Gigi. And he 
remembered me well. 

I told him that I had been in pictures 
— and found that he knew nothing what- 
ever about it, or about me. But he did 
pay me the compliment of observing, 



time, in spite of how we thought our- 
selves so mature. So much men ! So 
much, even, men of the world ! 

After we had got through with the 
Past, I told him all that I had been 
doing, my struggles, my successes and 
my hopes for the future, and found the 
dear man one of the mest interested 
listeners I have ever talked with. He 
made me know more than anything thus 
far, that I had, indeed, come home. 

Doubtless it was not very interesting 
for Natacha and Auntie, considering 



A street 

musician of 

Florence, Italy 

rise quietly and sit in the rising 
gold sun of Italy and write .... 

Genoa, August 25th. 

ITach day a new leaf turned, with 

always the possibility of finding 

the reign of some new, some rare, 

some lovely thing. 

Or, perhaps, some terrific thing. 
But what then? A philosophy 1 
have always tried to instil in myself 
and live up to has been the 
philosophy of fearing nothing in 
life, of accepting all the things that 
are a part of living. I we do not 
suffer, if we never know the pain 
of body, the pain of heart and mind 
and soul, if wc have never wept 
over a bier or crushed out bitter 
breaths against a vanquished hope, 
then we have never really lived at 
all. We have simply played through 
life. Made of it a perpetual carni- 
val. Never stripped the motley 
masks to gaze upon the strained 
and pitiful faces underneath. 

f I ever become the artist I hope to 

be I shall owe it not so much to my 
hours of sony: and dance, as to the 
many, many hours I have sat alone, 
friendless, hopeless, hungry of soul as 
well. God knows, as hungry of body. 

I wax philosophic in the morning . . . 

Perhaps I should have as a maxim, 
" Give the morn to meditation. Give 
the night to joy !" 

To get back to narrative .... 

On our way back from the School of 
Agriculture, which I left with a slight 
moisture of the eyes, and a promise to 



I 



22 



come back again one day when the 
other professors and some of the new 
pupils should be there, we got under 
way. 

Natacha said, " You had a wonderful 
time, didn't you, Rudy?" 

And I laughed and said that in such 
moments as I had lived through one 
was able to regain and recapture boy- 
hood again. Re-living a thing on the 
scene of its action is almost as good 
to the imaginative mind as actually 
living it. 

Detter, perhaps, for looking backward 
casts a tender glow over things that 
were not, perhaps, as tender at the 
time. And looking backward is robbed 
of the fear, the diffidence that one feels 
when one, perforce, looks forward. The 
past is known to us. It has no further 
terrors. It has done its best — or its 
worst. But whichever it is, it has been 
done, anyway. But the Future .... 
ah, there, indeed, is the Bottomless Pit, 
over which only such a bridge of 
philosophy as I have so weakly sketched 
may make it bearable. 

On our way homeward I suggested, 
optimistically, as it transpired, that we 
stop at Lido d'Albaro for a bit of supper. 

As we drove through, the little town, 
what should I see but an advertisement 
of The Conquering Pozver, called here, 
The Human Comedy. 

Of course " The Human Comedy " is 
the name of the series of Balzac's 
novels, from one of which, " Eugenie 
Crandet," "The Conquering Power" 
was adapted. But there is no connec- 
tion between the two in the public mind, 
and when I asked people if they had 
seen " The Conquering- Power," they 
invariably replied that they had not. 



Pictures an d Pichure puer 

Then, on the other side, in a less pre- 
tentious house, an advertisement of Bill 
Hart in something he must have made 
the Lord knows how far back ! 

I think a Triangle picture. These 
were first-run houses. 

And 1 said to myself, silently, but 
with great inner emphasis, " Ten years 
from now I will be popular in Italy, 
perhaps, but they don't know me now." 

That much was certain. From the 
chance wayfarer along the road, to the 
first and second run picture houses, I 
was as I had been when I left Italy, as 
unknown to films as films were unknown 
and unexpected to me. 

And so we went back to our hotel. 

Milan, August 28tli. 
Ah, now I feel that I should sit here 
^^ for as many weeks as I shall prob- 
ably spend hours, in order to get in all 
that has happened to us. 

The trip to Milan, with its delays and 
complications ! 

The meeting with my sister ! The 
effusions ! The tears of joy ! The 
reminiscences, which, I shall 
later on, in due 
sequence of 
events, like a 
conscientious 
and technical 
story-teller. The 
overwhelming- 
ness of seeing 
one of my own 
again . . . after 
so many years ! 

I had wired 
Milan, because 
my sister had 
expected me 
earlier in the 



JANUARY 1925 

My valet, whom I had sent on ahead 
was already at the hotel with my sister. 
They had had no word of the delay at 
the time and they sat themselves down 
and waited from eleven in the morning 
until ten at night. 

Meanwhile, of course, we were on 
the road from Genoa to Milan. 

It was raining with a driving, grey 
persistence, and we couldn't make very 
good time. 

When nine-thirty or ten arrived, my 
poor distracted sister didn't know what 
on earth to do. 

She imagined by 
then, the very 
worst. She couldn't 
endure the 
inertia of 
s i t t i n 
there, just 
sitting 
hands 
folded, 
heart 
thunder- 
ine: with 



Rudy tries his hand as driver of a peasant's 
mule team. 





As further instance of the up-and- 
doing picture regime in this part of 
Italy, when we passed the most pre- 
tentious picture house in Italy, we saw 
advertised there as follows : " For the 
first time in Italy: Joan the Woman." 
The picture with Geraldine Farrar. 



week, 
s a y - 
ing that 
we 
would 
be de- 
layed. 

B u i 
tele- 
graph 
ser- 
vice 
in Italy 
i s t h e 
worst 
t he 
world 
has ever 
seen, 
and, I trust, for the sake of all 
travellers and messages of import, the 
worst the world ever will see. 

I sent a telegram to my sister, and 
then, being aware of conditions along 
this line, I sent another — and then I 
sent another . They got the second wire 
ahead of the first one. 



impatience and fear, one instant longer. 

She was so nervous that inactivity 
finally became insupportable, and she 
said, " I am going to Genoa to see what 
has happened !" 

She found out that a train was leav- 
ing in twenty minutes, and on that 
train she jumped and went to Genoa. 

She arrived there two hours later, 
still frantic with apprehensions. 

By that time we were in Milan. 

I eventually got her on the long dis- 
tance telephone and told her where we 
were, what had happened to us, how 
I had wired her and that, in short, we 
were safe and sound and quite all right, 
and only suffering from the disappoint- 
ment of not seeing her at once. 

The poor girl took a six o'clock tram 
the next morning, arriving at ten. 

We just embraced, and then embraced 
again. We were crying, and everyone 
else was crying. It resembled some- 
what the day I crossed the frontier. It 
savoured of the same type of emotion. 
(Continued an page 76.) 



JANUARY 1925 




Picture s ar\d Picture puer 



27 



hands. The care of the fan mail alone necessitates a Urge 
outlay for secretaries, stamp* and photographs. 

And the business of investing surplus money might be 
^^ said to tonic under the business of stardom, too. 

I'he harvest years are few, and they demand every 
energy and attention. The money made in these years 
must he invested so that the future is insured. 

Sometimes a star is fortunate in being able to leav< 
these business worries to a father, mother or husband 
The husband of Norma Talmadgc, for instance, J' 
Schenck, has handled her affairs and Constance's, too, 
with the same skill and brilliance by which he has amassed 
his own fortune. 

And we wouldn't be at all surprised if John McCormick 
Colleen Moore's husband, and an official of her company, 
looked after her business interests. 

People with creative natures . . . .people at all artis- 
tically inclined . . . are not apt to be gifted with com- 
mercial minds. If you are born a merchant, you are a 



Gloria Swanson, too, has proved herself a farsighted business 
woman as well as a fine artist. 

thermore, can ruin the best story ever written, so he is 
also concerned in the selection of these co-workers. 

The longer it takes to make a picture, the greater is 
the cost. So every star has reason to worry if production 
lags while overhead mounts. Generally speaking they 
have no authority to speed things up or to make changes 
in the personnel of their producing unit. So their 
problem proves infinitely more difficult and calls for the 
utmost tact and diplomacy. 

Far-sightedness is something which every star needs. 

Everyone in the motion picture profession will tell you 
how well Anita Stewart handled her affairs. She found 
that her stardom meant frequent inferior pictures. So 
she was wise enough to give up the 
prestige of stardom and become what 
is called a " free lancer." This permits 
her a choice of roles. She need 
appear only in those productions 
which she feels to be worth while. 
Without any doubt, by making this 
change at the crucial moment, Miss 
Stewart has added years to the 
length of her career. 

/^ loria Swanson, too, is rich in 
^"^ this valuable quality. For years 
the public knew Gloria as a 
bizarre, exotic and over-dressed 
star. Her roles called upon her 
for no histrionic ability. Gloria, 
with a full realisation of this, 
sought roles which little by little 
offered her a greater emotional 
range. She gave what leisure 
she had to study. And to-day the 
most capricious and demanding 
critic admits that Gloria Swanson 
ranks with the finest artists of the 
screen. 

There are any number of incidental 
business details connected with stardom 
which, need management with expert 




Above -.Norma and Constance Talmadge. 
Left circle : Joseph Schenck. 

merchant. You buy and you sell. You 
do the thing you are pre-eminently fitted 
to do and that's the end of it. But if 
you are a motion picture star, you find 
it necessary to develop tendencies which 
are opposed to your natural instincts. 

With the men tars this does not 
seem so incongruous. But time and 
time again I marvel over the efficient 
way in which so many of the youmr 
girls handle their business affairs. Nor 
has their business ability been per- 
mitted to become flagrant. It has not, 
in ninety-nine out of a hundred cases, 
seared their charm. Wonders, even in 
the practical work-a-day world, may b-e 
accomplished by virtue of grace and 
charm. 

It's quite a business . . . being a star. 



28 



Pictures an d Picture pver 



JANUARY 1925 




BEN LYON 

Isn't as youthful in experience as m looks for he starred in Edison films 

and 'with Violet Mersereau and Marion Szvayne. He has dark brown 

hair and blue eyes and is one of the certainties of the coming year. 



JANUARY 1925 



Picture s and Picture poer 



■i 











■B 



V -0*£-E 




■■■i 



ALICE TERRY 

ft as received one of the movie plums of nineteen-twenty-five, viz. the role 

of " Queen Frederique " in the film version of Daudet's " Rois in Exile," 

which Seastrom is to direct. 



30 



Pictures and Pict\jre$uer 



JANUARY 1925 




VIRGINIA BROWN FAIRE 

Who is the "Tinker Bell" of Herbert Brenon's "Peter Pan." Virginia, 

made her name in " Without Benefit of Clergy." and is 5 //. 2 hi. tall, but 

as " Tink" she will be reduced to five inches which is the correct height 

of a fairy, we believe. 



JANUARY 1925 



Picture s and Pic hjre Over 



31 




WILLIAM FARNUM 

Big Bill Farnum has changed his studio address from Fox's to Paramount, 

but he hasn't changed his style of acting nor his characteristic photoplays. 

He pleads guilty of owning more homes than any other movie star; in 

time he'll have a house in every one of the United States. 



32 



Pictures and PichjreQoer 



JANUARY 1925 




BETTY BRONSON 



Sacrificed a charming head of chestnut ringlets for Art's sweet sake. 

But " Peter Pan " couldn't possibly have curls, and the effect is certainly 

quaintly becoming. This is an advance glimpse of her in character. 



JANUARY 1925 



Picture s and P/cnjre poe^ 



33 




Evening wrap of tail-less ermine, 
belonging to Sylvia Breamer. 



Norma Shearer's simply Corinne Griffith's negligee of heavy 
toilette of ninon and lace. white silk edged with ostrich feathers. 



34 



Pictures and P'chjrepoer 



JANUARY 1925 



Harold Lloyd-Live Wire 




VINCENT DE SOLA 



Harold Lloyd seems to be one of 
the staple idols of the films, and 
perhaps this is due in some 
measure to his own stability. 
His rise was slow and gradual, as 
screen successes go. Not one vehicle, 
but a great many, raised him to a 
position which, it is fairly certain, he 
will retain as long as he ohooses. 

In this face one finds nothing of the 
philosophical sadness of Chaplin, none 
of the superior comedian's richness of 
human comedy, but there is much in 
common in the faces of both men. Both 
have come to the fore by creating a 
character of wistfulness, somewhat 
baffled and helpless, and have repeated 
that figure with unvarying repetitions 
for successive years. 

There is so much that is unassuming 
in Lloyd's features tihat it is easy to 
sec that this part came natural to him. 
Idealistic as is the brow, his face lacks 
vanity and romantie illusions. He sees 



himself in a rather plain, matter-of- 
fact way, and his humour concerns 
itself with the vacillations weaknesses, 
and compromises which underlie even 
the most pompous or ferocious of sur- 
faces. It is a portrait which humanity 
readily recognises, and the kindliness 
of its satire is infinitely appealing. 

A good deal of Harold Lloyd's 
^^ character goes into this portrayal, 
but there are sides of him which his 
film playing never reveal. And most 
dominant of these, it would seem to me 
from my analysis, is his peculiar cun- 
ning in any sort of conflict or difficulty. 
The alert eyes have at once the signs 
of frankness and inscrutability. The 
mouth is flexible, ready to assume a 
variety of expressions, and the face, 
when apparently in repose, shows, 
nevertheless, the readiness of this 
character to switch with alarming sud- 
denness to an unexpected course. He 



" This face," says De Sola, " is diplomatic, 
observant, and full of a nervous vitality. In 
it, however, one finds nothing of the philo- 
sophical sadness of Chaplin." 

would strike in the least expected 
quarter like a good general, and there 
is enough inquisitiveness in him to dis- 
cover just which that quarter is and 
where the weakness of his enemy lies. 
But with all this, I do not mean 
that Lloyd is pugnacious. He is far 
from that. His lips and eyes show the 
conciliatory type plainly. Although 
the mind is more practical than 
creative, there is no doubt he is 
possessed of some inventive ability, and 
is unusually resourceful. 

f~\f the eternal traits of human 
character present in his features, I 
would accent his analytic ability, his 
jealousy in emotional matters, his 
physical courage, and his level and 
sane mentality. He has a humour that 
is touched somewhat with irony, but is 
without conscious cruelty. 

His attitude and opinions towards 
the difficulties of existence are con- 
cerned with ways of overcoming them 
rather than discovering their sources 
and meaning. He is, in a word, not 
philosophical in type, but is, rather, 
objective and active. He is one, I 
deduce, to whom games requiring 
peculiar skill, and elements of a sur- 
prising nature, have a strong fascina- 
tion. 

T_Je is good-hearted, though his sym- 
pathies are not particularly deep. 
A stoic himself, he can bear suffering 
so well as not to feel deeply the suffer- 
ings of others. There is something of 
a gambler's spirit revealed in his face. 
So sure is he of his own powers to 
extricate himself from a difficult pre- 
dicament that he would gladly test his 
ability by taking chances. 

His code of action is an extremely 
simple one, and he is somewhat con- 
ventional, though adapting himself 
generally to the conventions of en- 
vironment. He is tolerant, and can 
forgive anything that amuses or 
interests him, without condemning it. 

I mark his lack of self-consciousness 
and a freedom from sham which must 
naturally result from his own matter- 
of-fact acceptance of himself. Only in 
his ingenuity would he find cause for 
self-esteem or vanity, and this would 
be of a harmless kind. He is some- 
what domestic in type and requires a 
background of familiar thing? to feel 
completely happy. 



JANUARY 1925 



Pictures and P/chjre&ue*' 



35 




Dorothy Vemor\ 

fieddcn hbJ I 




In the spacious days of good Queen 
Bess lived the Vernons of Haddon 
Hall — Sir George Vernon and his 
daughter Dorothy and her cousin 
Malcolm. Dorothy Vernon was re- 
puted to be the very fairest girl between 
coast and coast and none whc had seen 
her could say that her claim was ill- 
founded. She was at the time of these 
happenings a laughing and light- 
hearted young lady of twenty-two, and 
betrothed — though this against her will 
— to her cousin Malcolm. 

" I dislike my cousin Malcolm," she 
said to her father, Sir George. " T 
would marry a man of my own 
choosing." 

" He is my choice, and I am 
accounted a wise man," returned Sir 
George. " In what way does the lad 
find ill-favour with you? He seems a 
good man to me." 

" I dislike him," re-affirmed Dorothy. 
" As for the reason — I don't know. 
Must a woman know? Must she give 
a reason? I could not be happy with 
my cousin Malcolm, father. I would 
that you free me from this betrothal 
and let me marry a man of my own 
choosing." 

■"You have chosen?" the old man 
demanded. 

" Nay," replied Dorothy, with a flash 
of the wit for which she was renowned 



BV 

JOHN FLEMING 

throughout the shires — " I have not 
chosen. Or I would not be betrothed 
to Malcolm." 

" Tush ! girl," snapped the old man. 
" You talk as though you are fit to 
choose. You talk like a man. I am 
your father, and wise, and qualified to 



CHARACTERS. 

Dorothy Vernon - Mary Pickford 
Sir George Vernon Anders Randolf 
Sir Malcolm Vernon 

Marc MacDermott 
Lady Vernon - - Mme. Daumery 
Sir John Manners - Allan Forrest 
Earl of Rutland- - Wilfred Lucas 
Queen Elizabeth- - Clare Eames 
'Mary, Queen of Scots Estelle Taylor 
Earl of Leicester Courtenay Foote 
Dawson ... Colin Kenny 
Jennie Faxton - - Lottie Pickford 

Narrated by permission from the Allied 
Artists Film of the same name. 



choose and I have chosen for you your 
cousin Malcolm. There is nothing 
more to be said. Take a walk now in 
the garden and watch the sunset hues 
on the roses. That is more to a 
woman's capacity." 

Pouting, Dorothy went away, out of 
the great hall of the Vernons and down 



the beautiful moss-grown stone stair- 
case to the rosary. It was, as Sir 
George had pointed out, the sunset 
hour, and the gardens were a glory, if 
a glory that shone not to her unseeing 
eyes. She walked the mossy paths, 
flicking fallen petals from her path and 
wishing she were a child again to call 
the fairies to her aid, to bid them bring 
her a fairy prince who should show an 
excellence for every defect of her be- 
trothed, Sir Malcolm. 

""The very strangest thing about her 
perplexity was that she had not seen 
Sir Malcolm, her cousin, since they 
were children together. But little 
traits of childhood came back across 
her memory and she knew she could 
never like or respect the man that little 
Malcolm Vernon must have become. 

So cold it all was, so calculated, so 
far outside of her own being, this made 
match, this callous arrangement be- 
tween the two branches of the Vernons. 
If only — 

Her thoughts and her perambula- 
tions came to an abrupt termination 
simultaneously, for there before her 
suddenly in the garden, begging to be 
put upon his way to the nearest Peak 
Town, was the handsomest man that 
ever Dorothy Vernon had seen. And 
he was not merely handsome. 



36 



Picture s end Pichjtv pver 



JANUARY 1925 



Her cousin Malcolm was handsome; 
but here was one whose eyes laughed, 
whose mouth was kind; a man who 
was knowing and yet sympathetic, who 
took life bravely and yet with a laugh. 
The man, in short, that she would have 
bade the fairies bring to her, if she 
had been little again and still retained 
her faith in the little folk. 

And then of a sudden she was lower- 
ing her lashes and she knew herself to 
be blushing. She saw him flourish his 
sword gallantly and repeat his 
question. 

" Why — " and she got no further 
than that, but stopped and stared 
stared at his sword 
and the crest of his 
cousin's branch of the 
Vernon family en- 
graven thereon. 

" That is the crest 
of the Malcolm Ver- 
nons !" she cried. 

And he replied : 
" It is that indeed." 

" You must be my 
cousin Malcolm, then, 
that I am betrothed 
to marry — my cousin 
that is back this very 
day from Italy?" 

" And if I may say 
so, fair lady, you 
seem very little un- 
willing." 

She blushed again. 

" I did not think 
you would be like 
that." 

" What did you 
imagine, then?" he 
asked. " Come, now 
— a dragon?" 

" Before the reality 
I scarce remember. 
You have driven away 
and I am willing." 

They walked down the paths of the 
rosary, arm in arm, talking of birds 
and the roses and the sunset and the 
far lands that he had seen. And then 
when the sun was dipping and he 
vowed he must be upon his way, he 
flourished again his sword, took off his 
feathered hat and bowed low. 

" I may see you again, and perhaps 
your father, Sir George?" he asked. 

" Why, when we are to marry within 
the month, cousin Malcolm — " 

"Hair lady," said the young man, "I can 
no longer deceive you. I won this 
sword in fair combat with a young man 
I cannot like, a mile down yonder road. 
He sits now, I believe, in a ditch. The 
arms are not mine, but his, and he must 
be Sir Malcolm Vernon. As for my- 
self, I am Sir John Manners, son of 
the Earl of Rutland, and if—" 

She flushed and her brows met in a 
tiny and beautiful frown. 

" Rutland I" she cried. " Son of the 
Earl? Then you must know, unless 
you have been in hiding these many 
years, of the feud that exists between 
my family and yours. The Vernons 



and the Rutlands hate and must hate 
to the end of time. Go ! Your de- 
ception was as mean and paltry as it 
was base. Never more do I wish to 
see you. I am away this moment to 
warn my father and rouse the guard. 
If you care to save your Rutland skin, 
save it now, for time is short !" 

She turned and left him hurriedly, 
and when her father learnt of her story 
he at once sent the guard out into the 
woods to bring the miscreant to book. 
" Dead or alive," he commanded, " but 
dead for preference." 




" // you care 
a cloud and — 



to save your Rutland sum, save it now for time is short !" 

He swerved round in his ponderous 
way to bid his daughter exercise care 
in her encounters, but his daughter was 
gone already from his side. Gone to 
her room, to dream if not to sleep — to 
dream of one she had sworn never to 
see again, the finest man that her pretty 
eyes had ever seen; the son of their 
ancient enemy the Earl of Rutland. 

To dream of him, and to think, at 
long and rare intervals, of that other 
whom she was so soon to marry — that 
other who lost his sword to a better 
man and took his seat in a ditch. 

" I wonder. . ." she mused. Though 
what she wondered she could not 
express in words. 

Days of plot and counter-plot were 
those. Spacious days — days of life 
full-lived; but days of intrigue too. 
Though Elizabeth sat the throne, it 
was none too secure. Far to the 
North was Mary, Queen of the Scots, 
ever watching, ever waiting; with her 
faithful henchmen in Elizabeth's 
realm, ready to do her bidding, to give 
their lives for her, when the moment 
should come. 

One such was the Duke of Norfolk, 
and the Duke had no stouter aide than 



Sir Malcolm Vernon. Very soon, if 
their plans carried, Elizabeth would be 
deposed and Mary of Scots in her 
place on the throne. And their plans 
bade fair to carry, for they were stout 
plans, of strong foundation. 

The approaching marriage of Sir 
Malcolm to his neighbour and cousin 
Dorothy Vernon of Haddon Hall, 
would provide a very excellent oppor- 
tunity to bring the English Queen into 
the neighbourhood. Only a shelter 
near by was needed to hold Mary in 
safety until the moment of disclosure, 
and then at one sweep the proclamation 
of Mary as England's queen and the 
assassination of 
Elizabeth could 
be a c c o m - 
plished. 

" But where," 
the old Duke 
asked of his 
younger plotter, 
" where can 
Mary hide un- 
til the moment 
for coming for- 
ward?" • 

Sir Malcolm 
laughed. 

"Why not 
Rutland 
Castle?" he 
asked, " It is 
but a stone's 
throw from 
Haddon Hall." 

"But the Earl 
is one of Eliza- 
beth's men." 

" Listen. We 
can persuade 
the old man, 
who is a poor 
fool at best, that 
Mary's residence there is for Eliza- 
beth's good. We will say that Mary 
awaits her passport to France, and 
that as soon as Elizabeth comes north 
for the wedding and grants this, she 
will renounce all claim to the throne 
and leave the country for ever." 
" If you can arrange this — ?" 
" Leave that to me." 

A nd it was arranged — so well arranged 
^^ that young Sir John Manners 
was even persuaded into journeying to 
Lochleven Castle and escorting Mary 
south to Rutland Castle. The journey 
was made in easy stages after night- 
tall, and none but a handful knew that 
the hated Mary Queen of Scots was in 
England, and in that Loyalist heart of 
England. Rutland Castle. 

Meantime, preparations for the mar- 
riage proceeded apace. But though 
the day grew ever nearer and heralds 
had brought news of the Queen's 
approach for the festivities, Dorothy 
Vernon persisted in her refusal to see 
her betrothed. 

" I can never marry him, for I can 
never like him. Oh, that I might die 
and be from this world of trouble," she 
cried. 



JANUARY 1925 



Pictures and Pic nwepuer 



37 



Her father's lips set and he took her 
wrist. 

" Do you know that the son of Rut- 
land is a prisoner and will die unless 
you consent to marry your cousin 
Malcolm?" he said in a low voice. 

" Father," she sobbed, " you cannot 
mean it?" 

" Can and do," smiled the old man. 
" He will be tortured and then hanged 
unless we keep our bargain with our 
cousin's. What say you now?" 

She said, in cold words, very little, 
but when again her lather laid the 
marriage agreement before her, with a 
trembling hand she signed it. 

""That night she took her maid Jennie 
Faxton into her confidence. "I want 
you, Jennie," she said, " to take a mes- 
sage to Rutland Castle for me. It is 
a secret message and no one must 
know. It is for Sir John Manners. 
My father believes that I love him, and 
has balanced his life against my mar- 
riage with my cousin Malcolm. Yes, 
my father believes that I love him, be- 
fore I can believe it myself. But I 
believe it now. My father is right. 
He has seen what I have been feeling. 
Though I shall marry Malcolm it is 
John I shall love." 

And that night Jennie went to Rut- 
land Castle, being taken within by a 
sister of hers who was in the employ- 
ment of the old Earl. And when by 
stealth she crept up to the room of 
young Sir John to deliver the message 
it was a strange sight which met her 
eyes. A prisoner Sir John was indeed, 
though not an enforced one. On his 
way back from Lochleven the party 
had passed through an ambush and Sir 
John it was who fell. He was still 
weak from his wounds, and when, 
during a midnight audience of Queen 
Mary, he tottered and would 
have fallen, she held out 
her arms and it was into 
them that he staggered. 
At that moment the 
curtains parted and 
Jermie Faxton peeped 
in. To see Sir John 
Manners in the arms 
of Mary, 'Queen of 
Scots. . . 

When she began the 
weary way back to 
Haddon Hall under the 
pale light of the moon, 
she carried with her a 
message that had never 
been delivered. 

Upon the next morn- 
ing, amid a great 
flourishing of trumpets. 
a great shaking of 
lances and spears and a 
vast waving of gaily 
coloured flags, in a litter 
of silver and fairest 
lace, and accompanied 
by a retinue five hun- 
dred strong, Queen 
Elizabeth arrived at 
Haddon Hall for the 



wedding of Dorothy Vernon. 
Never before m that generation 

had such joyous scenes been 

witnessed in that corner ol Derbj 

shire. The servants were lined along 
the terrace top waving bunting and 
little Bags. The foot soldiers of the 
Queen held the way up the terrace 
steps. And at the foot of the steps, in 
the sight of a vast gathering of coun- 
trymen and countrywomen, Sir George 
Vernon waited to welcome his Qui i 

What a roar of greeting arose as the 
litter drew up. Sir George steppi d 
forward, the Queen stepped down, Sir 
George knelt, the populace cheered, 
the foot soldiers presented arms, Sir 
George kissed the royal hand and then, 
rising, bowed low. 

" Your daughter is not here to re- 
ceive us," said the Queen tartly. 

Sir George glanced round. 

"Your Majesty," he faltered, "she 
was here but a moment ago. I can- 
not think where she can be." 

■"The Queen passed on, ignoring his 
explanations or lack of them, and he 
felt that he would never again hold his 
head up in face of this slight that had 
been offered the great Queen. And 
then Dorothy came into view running, 
to pull up and drop a dainty curtsey 
before the royal lady. But the royal 
lady was in one of her less-pleasing 
moods that day, having travelled far 
and long from London, and she swept 
by without acknowledgment. Sir 
George angrily drew his daughter 
aside. 

" You have offended the Queen and 
cast a shadow on the whole ceremony," 
he said. " Never — " 

"Father!" she whispered. "T must 



have .in audience of the Queen ai once 
and privately. 1 have been talking to 
Jennie Faxton who is back from Rut- 
land GaStle but these twelve minutes 
with terrible news. Mary oi Scots is 
there! And there is a plot, with the 
Rutland* behind it, to place In r on the 
throne of England I" 

"What!" the old man fell back 
apace, staring at his daughter as if he- 
had imagined the dreadful tidings and 
her lips had not moved. Then taking 
her hand he led her before the Qu< en 
and begged her to recount her news. 

Elizabetth listened attentively and 
when at length she spoke it was plain 
that she had forgiven the Vernons 
their lapse. 

" You have done good work which 
I shall not forget," she said. And 
then, summoning a foot soldier : "Take 
a hundred men of foot," she com- 
manded, " and set a guard on Rutland 
Castle. Mary of Scots is there. Seize 
her. Take also the Rutlands, father 
and son. Hold them against my next 
command, and bring me news if your 
mission is attended with success." 

In the excitement occasioned by the 
tidings Dorothy could wander a little 
from the seething concourse to a quiet 
9pot along the terrace where she could 
be alone with her thoughts. And 
what bewildering thoughts they were ! 
Suddenly she realised that this was her 
lover she had betrayed — John Manners, 
her ideal, her fairy prince come true. 
But few times had she met him; on 
that first memorable meeting in the rose 
garden, and two or three times since. 
But she realised that it was this man 
that she had sent in all likelihood to 
the block who was the only man in 
all the world to her. This 
this traitor ! Her lover. . . 
Quicker than thought — 
for her thoughts were 
^Bjjjjjjj^^^ poor lame things 
that 




She 



threw a wide cloak over htm and sat herself on his knee, but alack ! Four feet 
and two of them a man's were peeping out from under her dress. 



38 



Picture s and Pichure poer 




" I thought so," sneered Sir Malcolm. And suddenly he raised his sword. 



day — she slipped to the stables and 
saddled her white mare. Spinning 
round into the high road she left Had- 
don Hall behind in a mist of dust. She 
scarce knew where she was going, or 
why, but when the mare's hoofs beat 
upon the road to Rutland Castle she 
knew neither surprise nor remorse. 
Only fear — fear that she might be too 
late. . . 

"VVVhen the lone rider was gone she 
spurred the horse into the high road 
once again. But now there was a 
fresh danger. The departure of the 
white mare had been witnessed from 
the high terrace at Haddon and a hun- 
dred mounted soldiers of the Queen's 
guard were in pursuit. Little tears of 
excitement trickled down Dorothy's 
cheeks ; but soon she was laughing too. 
The soldiers of the Queen ! What did 
they know of the Haddon country, that 
wild Peak land in which she had passed 
all of her beautiful young life? 

She even turned and beckoned them on, 
taunted them and jeered at them, and 
then plunged into the woods, climbed 
the wildest crags, tore along a high 
wall no more than a yard across, where 
the merest slip meant death. And once 
she took the devil's jump, that fear- 
some leap in the heights that no 
stranger dare attempt. And so though 
f he horses of the Queen's guard were 
lieeter than her small white mare it 
was Dorothy Vernon of Haddon Hall 
who came first to Rutland Castle. 
First by a hair's breadth, but first 
irrevocably. The gates that closed on 
her pantinsj horse were shut in the 
faces of the pursuit. 

"Though soon," she thought, "as 
she ran up the dark stone staircase to 
the room in which Queen Mary waited, 
" soon they must break through. This 
is Elizabeth's country and Elizabeth's 



men must be obeyed. I have few 
minutes in which to save a gracious 
lady who has never harmed me." 

To say that Queen Mary was startled 
by the story Dorothy Vernon brought 
to her is to. say little. But there was 
no time for questions and answers. 
Dorothy tarried only long enough to 
learn that her John was on his way to 
Haddon Hall to tell his story at her 
feet; then she whipped off her gown 
and bade Queen Mary do the same. 
" Give me, too, your veil," she asked. 

And in a very little time Dorothy 
*^ Vernon was attired in the robes of 
Mary, Queen of Scots, and Mary stood 
in the humbler dress of Dorothv 
Vernon of Haddon Hall. 

" Go by the back door and none will 
stop you," said Dorothy. " Dorothy 
Vernon may go where she wills in these 
parts. As for myself — I shall be all 
right. I shall be in custody." 

The Queen departed and Dorothy 
waited. There was the sound of stout 
blows on the great front gate of the 
Castle and in a very short space 
Elizabeth's men stood before the 
veiled lady, Sir Malcolm Vernon at 
'their head, with the ultimatum of that 
other and greater Queen and the stark 
announcement that Mary was a 
prisoner. 

" Lead on," said the bogus Mary in 
a whisper. And so set out the proces- 
sion that was to lead the Queen of 
Scots to her proud conqueror. 

But on the way Sir Malcolm 
found occasion to be by the 
"Queen's" side; and though the 
veil that she wore was too thick 
for him to see through it was not 
too thick for her hearing and she 
heard the words he uttered : 

" Do not fear my Queen," he 
murmured. " Our plan yet goes 



JANUARY 1925 

well, for this seeming set-back is 
in the proper hands. You are to 
be taken before Elizabeth now, 
but — Elizabeth shall die to-night 
and you sit in her throne!" 

Arrived at Haddon Hall, the 
veiled lady was taken at once 
before Elizabeth. She stood be- 
fore the throne and bowed her 
head. 

" And so Marv at last you 
acknowledge defeat," said the 
great Elizabeth, with a smile of 
triumph. " Well, unveil yourself 
and let me look on your face for 
the last time !" 

Dorothy put up a tiny hand 
and swept the veil aside. 
^"Why! what is this?" cried 
Elizabeth. 

" More than your Highness has 
the wish to believe, I will war- 
rant," cried Dorothy. "This 
man here — this traitor, Sir Mal- 
colm Vernon, cousin though he is 
of mine — plots to destroy you 
this very night and place Mary 
of Scots in your throne. This 
plot he has whispered to me not 
an hour ago, as he brought me 
here thinking me another captive. Had 
I been Mary, he would have ushered 
me in not a prisoner but a victor. 
Your Majesty — " 

Malcolm Vernon staggered forward, 
his face convulsed with rage. 

"The wench lies and knows it!" he 
bawled. " It is- her word against 
mine, and what action of mine or my 
family's in all our life has been dis- 
loyal to your Majesty? I crave a fair 
hearing as a loyal subject. How 
comes it that we bring you here, Dorothy 
Vernon, and not Mary of Scots, but 
that by this masquerade this woman 
has set your enemy free?" 

" There is sense in that," Elizabeth 
nodded. 

" There is deceit and cunning in it !" 
protested Dorothy. 

" I have known Sir Malcolm only to 
be right loyal these many years, and 
his father before him," said the Queen. 
" I have no reason to doubt his word. 
Go ! And await my commands in your 
chambers." 

Dorothy crept from , the audience 
chamber to her own room, with a heart 
of lead in her bosom. Even the start- 
ling appearance of Sir John, her lover, 
there in her own room waiting for her, 
could not raise her spirits. 

" If you are found here all is lost," 
she cried. " The Queen suspects us of 
disloyalty and even at this moment Sir 
Makolm is pouring lies about us into 
her Majesty's ears. Oh, I fear me 
things are going ill with the house of 
Vernon." 

" My dear lady," protested Sir John, 
" let all the world utter poisonous lies, 
yet am I here to serve you if you will 
but tell me that which already I think 
I can guess. That you love me. . ." 

" Oh. John, I love you indeed," said 
{Continued on page 74). 



JANUARY 1925 



Pictures and Pictvrepver 



39 



A 



he AkL oF 

,<^NhziffiDve\ 



In the following series of studies the author has chosen his 
subjects with great deliberation, taking only those stars whose 
work seems to him a permanent and essential contribution to 
the art of the screen. He has tried to reduce effects to causes, 
and to discover in each of his subjects the characteristic 
quality that underlies success. 



11a Nazimova is back with us 
again. The speaking stage could 



/ \ not hold her, this creature of 
fire and ice and rushing thought, 
from the drama of silent pantomime 
which she has made so peculiarly her 
own. For the kinema is in her blood — 
in her face — in her expressive finger- 
tips. She thinks in terms of movement; 
she speaks most clearly with silence. 
The kinema has her — and will always 
have her. And yet in her genius she 
is free. 

Nazimova has been likened to Pola 
Negri, to Norma Talmadge, to Theda 
Bara, and to all the famous emotional 
stars in their time. But she is like 
none of them. She is herself, and 
alone. 

Other stars have flashed a brilliant 
portrait across the screen, have acted 
with power and colour, have won their 
places in the hearts of picturegoers the 
world over, but Nazimova — leaving 
hearts untouched — has carved for her- 
self a niche with Chaplin on the lonely 
pinnacle of screen art. 

The appeal of Nazimova is never to 
the heart, but to the head. We admire 
her. marvel at her, worship her, per- 
haps, but love her — never. We cannot 
love where we do not know, and Nazi- 
mova is aloof — a mystery. 

"Phe stars who have been loved most 
warmly have been loved for them- 
selves and not for their shadow on the 
screen. It was the woman behind the 
actress in Mary Pickford that became 
The World's Sweetheart, the man be- 
hind the player in Wallace Reid who 
caught and held the devotion of packed 
audiences from Pasadena to Bucharest. 

Think of your own favourite, 
Meighan or Betty Balfour or Novarro, 
or whoever it may be. You admire him, 
yes ; you think him versatile, yes ; you 
are glad when his parts give him 
dramatic scope, yes again ; but the thing 
that holds you is the personality behind 
the talent, the loved familiarity, the 
sense of growing comradeship, and the 
glimpse that breaks through the cellu- 
loid now and then of the living and 
thinking man. 

But Alia Nazimova is another matter. 
She is baffling, remote and impersonal ; 
she slips 'Irom us, laughing and shaking 
that rebellious head of hers, and just 



when we think that the real Nazimova 
is about to be revealed at last,, she 
cloaks herself in another of her 
brilliant character-studies, mocks at us, 
and is gone. Like the chameleon — 
taking dramatic colour from "every 
part she plays ; like a Queen — unobtain- 
able; like a street urchin, mischievous 
and maddening and never to be trapped. 

Elusive as a Will-o'-the- 
Wisp. And because we do 
not know her, and know 
that we shall never know 
her, we find her intriguing 
and irresistible. We send our 
thoughts chasing after her, 
even while our hearts are 
loyal to Mary and Norma 
and Lillian, and the stars 
whom we have loved and 
understood. 

Like Chaplin, Nazi- 
mova is a pantomimist 
— that is to say she is 
able to interpret all 
emotions, great and 
small, with every faculty 
nature has given her — 
head, shoulders, limb? 



an impenetrable mask, mobile enough, 
but revealing not a thought of the 
woman, the individual anil living 
woman, behind it. 

\Jazimova has such complete mastery 
over her powers that she can be 
prodigal with them and not fear ; can 
put them bo the test of every type of 
character of every age and nationality. 
She has created a dozen memorable 
figures for the screen, each distinct and 
individualised, living in a dozen little 
worlds apart, and alike only in one 
thing — that they are all — and none of 
them — 'Nazimova. 

In every part she is at ease, whether 
in the tomboy youthfulness of The Brat 
and Out of the Fog, the tragedy of The 
Red Lantern, the passionate full- 
blooded womanhood of Camillc and 
Revelation or the dawning maturity of 
young Salome. 

Sometimes she draws her characters 
with the quick, broad strokes of passion, 
sometimes with a hint, a suggestion, the 




merest trick of a 
shrug. But always 
she draws with a hand 
of power, of surety — 
the hand of a master 
who knows himself 
and his subject and his 
medium, knows too his 
audiences and their 
knowledge, but knows, 
and rejoices, that him- 
self they will never 
know. 

E. R. Thompson. 



the turn of a finger, 
the set of a hip. 

She acts with 'every 
part of her body. 
She lets every movement, however 
slight and restrained, carry its share 
of meaning. Like Chaplin, her face is 



40 



Pictures and Pictvrepver 



JANUARY 1925 



Fi 

Los 



m 




Captain Hurley's adventures witn a movie camera in 

the tropical wilderness of Lake Murray where he 

discovered the lost tribe of Sambios. 

Travel films hold a special fascina- 
tion for Britishers, in whom the 
pioneering instinct is so deeply 
ingrained. Who would not, if 
he could, seek out the far 
places of the earth, 
and the strange races 
of the earth? But 
these delights are for 
the few, not the 
many. 

For the many there 
is the kinema, and 
entertainments like 
Pearls and Sav- 
ages, which drew 
half England to the 
Poly Kinema, in 
Regent Street, 
London. 

For Captain Frank 
Hurley, who with camera, 
wireless and seaplane, pene- 
trated New Guinea and dis- 
covered the Lost Lake where 
the Stone Age Savage still 

Below : Captain Hurley 
with a friendly Dogai of Evesi 




ably hot, yet wonderfully beautiful, with 
a beauty entirely different from any- 
where else on earth. 

Hurley was the first white man the 
Lake Murray folk had ever beheld, 
and his aeroplane was taken by them 
for a new god, and worshipped 
accordingly. 

He was fortunate however, in 
being able, not only 
to photograph the 
remarkable and 
somewhat gruesome 



Top right : Skull trophies, with their gro- 
tesque ornamentations. Right : A skull 
shrine showing the various trophies. 




dwells, re-told there his adventures whilst 
the film showing them ran its magic 
course. 

This intrepid Australian, now only 
thirty-four has ranged all over the world 
on various exploring expeditions, includ- 
ing Sir Ernest Shackleton's to the Pole. 
There it was, amid ice and snow, that the 
project of "a Tropical Expedition next" 
was formed, but it was not until after the 
war that it matured. 

It is a vivid record of these alluring parts 
of New Guinea, of Papua with its pearl 
divers and gorgeously coloured vegetation 
and coral reefs, of the vast swamp of 
Lake Murray, and of the aborigines who 
inhabit that lonely world. 

In the midst of the vast swamp the 
lake lies, crocodile haunted and unbear- 



JANUARY 1925 




Pictxjre s and Pichure puer 

At Coira (Papua) when a woman 
loses her husband, she goefl into niouin 

ing by divesting herseli oi all attire 

save a ai.ilini; of white pipeclay. Th 

period of mourning coven more than 

a year and tin pipeclay is renewed as 
it rubs off. The WOOien of Kaimare 
use the shiny river mud instead of pipe- 
clay, with still more horrible effect. 

The weird objects in the lower right 
hand corner are the taboo goblins of 
Urania. They are employed by the old 
men of the tribe to keep the villagers 
in control, and to guard certain fruits 
and vegetables for use at Festival time. 
The tribe fear and obey them when 
they issue from the " Dubru " (Men's 
club houses) and dance a strange 
" Ring-around-the-Rosey " through the 
villages and in and around the trees. 

The film forms an all-too-short 



41 



record of an amazing achievement and 

the pictures, especially some coloured 

slides, are unique and wonderfully 
beautiful. 

Captain Hurley's book, " 1'earls and 

iges" which is published by 
Putnama and contains eighty ilhr 
tions from the film, is something every- 
one who has enjoyed the movie will 
want to buy. 

One thing is certain, whether Dai 
win's Missing Link between man and 
beast existed or did not exist. The 
Missing Link between man and man 
exists in the form of the {Cinemato- 
graph camera. Can you doubt this as 
you watch primitive man outside his 
mud hut with his Stone Age weapons 
and realise that he could watch you in 
yo-ur cities at work and at play by the 
same means? Josie P. Leoerer. 



Left : Hamoji. chief 
of the cannibal 
Sambio tribe dis- 
covered near 
Lake Murray 



A native 
the worn 



industry, at which all 
en are proficient. 



trophies these savages 
collect so assiduously, 
but to carry away 
some fine specimens 
for the Australian 
museums. 

The three skulls 
seen on this page 
appear very grotesque 
with their false noses, 
and rows of bright 
red and grey seeds. 
These probably once 
belonged to the 
relatives of the men 
from whom Captain 
Hurley obtained them. 

Besides the skulls, 
there are the strange 
shields which repre- 
sent the Spirits of 
the Dead, and the designs on them bear some resemblance to 
human faces. They are carved by means of a keen-edged 
shell usually, although knives are occasionally used, and are 
called Gope. After being carved, the Gope is decorated with 
red, black, and white pigment and the general effect is 
startling. Every man owns one of these shrines, and the 
more skulls, Gope, crocodile heads, spears, etc., he has, the 
higher his standing. 

With most of these Primitives, woman is very small beer 
indeed, she is seldom allowed inside the great Ravi, or com- 
munal dwelling, and is usually sent right out of the village 
when any Tribal dances, such as are shown in the movie, are 
performed. 



In New 
Guinea 
there are 
no "Merry' 
Widows. 
This one 
is a repre- 
sentative specimen. 




Crocodiles abound in tht 

steaming swamps of New 

Guinea. 



42 



Pictures and Pichuretyoer 



JANUARY 1925 



The Old Order Cta 

And the old conventional screen characters are so well dis 
guised that it's hard to tell t'other from which. 



In the early infancy of the screen, 
films were very different things to 
the pictures of to-day. There was a 
crude simplicity about them that 
contrasts vividly with, the constant 
striving after subtlety and originality 
of the modern director. 

Characters were less complex. The 
hero was just a hero, and easilv recog- 
nisable as such. Before 
the first sub-title informed 
theaud'>nc?nf his identity 
a hundi £ '- or more voci- 
ferous voices had cheered 
his slick-haired presence 
on the screen. He was 
the handsome, open-faced 

■Below «- The Jazzy 
heroine — Colleen Moore 



young man who loved the heroine 
through thick and thin. Usually some 
evil-natured enemy took away his 
character in the first reel and nobody 
believed in him but his trustful young 
sweetheart (and, of course, the 
audience !) 

But in the last reel he always got it 
back again, none the worse for its tem- 




- > 





When comedies were comedies and 
nothing else but. Chaplin's first effort. 
Do you remember it? 

porary absence, and true love received 

the customary reward. He had a way, 

this hero, of always doing the right 

thing. Naughty vampires tried their 

wicked wiles upon him, and found him 

impervious to their over-blatant charms. 

Villains waited for him, with gangs of 

" toughs," and attacked him in lonely 

places. But dear Horace would lay half 

a dozen of them 

out in the first 

round, without so 

much as 

quivering 

an eyelid. 



Fashions in films may alter but screen villains like Stuart Holmes (jo on for ever. 



The heroine smiled 
prettily at her honest 
hero-lover. (Gladys 
Hulette and Johnnie 
' Walker). 

Truly a wonderful 
man ! 

The villain, too 
possessed the same 
directness of charac- 
ter. From the 
moment he first 
appeared on the screen, twirling a 
sinister moustache and ogling the 
heroine in a way that boded no good to 
the poor girl, there was no stopping the 
wickedness of that man. 

He blackened the hero's spotless 
reputation, he kidnapped the heroine, lie 
tied innocent people who never did him 
any harm to the railroad track, he fore- 
closed on .the mortgage and turned 
whole families out into the snow, he 
blew up things with dynamite, he bullied 
little children and ill-treated dumb 
animals, and, in fact, committed every 
crime known to mankind. 

"""The heroine herself was a gentle little 
thing who smiled prettily at her 
honest hero lover, looked horrified when 
the villain breathed down her neck, anl 
generally behaved as a nicely brought 
up girl should. The vamp, who writhed 
and undulated and narrowed her eyes in 
the approved vampire style, spent her 
time smoking cigarettes and fascinating 
men. 

These four were the principal 
characters in any and every movie, and 
as distinguishable, one from the other 
as black is from white. 

But times have changed and films 
with them. It is no longer quite so 
easy to tell hero and villain, heroine 
and villainess apart, and black and 
white merge so cunningly into one 
another that it is difficult to find the 
meeting point. All this is very con- 



JANUARY 1925 

fusing- to the veteran (MCturegOCT. 

It is quite on the cards that he or she 
may waste a whole afternoon 
assiduously hating what appears to be 
the villain, only to discover in the last 
reel that he is the hero after all. On 
the other hand, villains are becoming 
gradually so polished and polite that it 
requires concentrated brainwork on the 
part of the audience to discern their 
real blackness of character. Incredible 
as it may seem they are even losing that 
old and time-honoured habit of hissing, 
always connected with them in the past. 

Elderly charmers, too, are proving 
quite a menace to the popularity of the 
conventional boyish lover. And, truth 
to tell, they can be very charming. 
Lewis Stone imbues middle-aged roles 
with a romance greater than that of 
twenty-one, and Adolphe Menjou's 
sophisticated love-making does greater 
damage 
amongst 
feminine 
hearts than 
the old time 
methods of 
wooing ever 
accomplished. 



m 





V 




i 



Aileen Pringle as " The Lady" of Elinor 
Glyn's " Three Weeks." Elinor invented 
the tiger skin tradition. For years no reel 
vamp was com- 
p I e t e without 



Top: The 
new - style 
vamp ex- 
emplified 
by Mae 
Busch. 
Above : 
" The 
handsome 
open-faced 
young man 
who loved 
the heroine 
through 
thick and 
thin." 
(Walter 
Tennyson). 



Dear Horace (Frank Mayo, in this instance) lays half a dozen of them out. 



ler apron, while the villain stands over 
her and threatens her. 

She doesn't vainly wring her wrinkled 
hands and wait for her youngest son 
to " make good out West " and come 
home in the nick of time. She knows 
perfectly well that her youngest son 
hasn't got it in him to make good any- 
where, let alone " out West." The 
modern -movie mother is bobbed haired, 
young and charming, and can fight her 
own battles. 

VY/ith this gradual change of charac- 
ters, plots also have become 
different. They no longer have the same 
directness, and while in some cases they 
are infinitely better directed than the 
old-time stories, there are occasions 
when they rather over-reach themselves 
in a desire to express subtlety. 

This, I .suppose, is because directors 
have altered. They are getting edu- 
cated. In the old days a director's last 
qualification was education in any shape 
or form. But now they are going to 
the other extreme. They suffer, some 
of them, from such an overdose of 
" kultur " that they no longer put enter- 
tainment first in their ideas of what the 
public want. 

Instead they substitute " education." 
Something " different " in the way qf 
films is wanted, so they take novels and 
plays that are obviously unfitted for 
reproduction in celluloid and attempt 
to do the impossible. The result is, in 
the words of the, press agent, a " screen 
classic " — in the words of the film fan 
" too slow for words." 

The old-time pictures may have been 
crude, but there is this to be said for 
them. If they were melodrama, at 
least they pretended to nothing more. 
For all their crudity, they knew what 
they were driving at — and who can say 
that of some of the films of to-day? 
E. E. Barrett. 



JANUARY 1925 




Below: The Pigeon Tower at Dios 
Dorados, a lovely bit of atmos- 
pheric architecture. It suggests the 
sunlit Plaza of some old Spanish 
town, and is an exact copy of part 
of an early Spanish-Californian 
Mission. 



Above: "Dios Dorados" (Golden Days), the new home Thomas Ince 
did not ,enjoy very long. It is a Spanish ranch estate of unusual 
beauty, and contains thirty-five rooms, and eleven baths, besides a 
bowling green, tennis courts, bathing pool and palatial grounds. 




Above: The Dining Room is wholly Spanish, furniture and rug having 

been made to order in Spain. The rafters, hand carved and stained 

to simulate age, add a hospitable note. 



JANUARY 1925 



Pictures and PichureVuer 



Tkomas H 

lh\ce 

The kinema world is the poorer by the 
death of this 
famous pro- 
ducer at the 
early age 
of 42. 



ft 



B 



45 



r 



*~ 



Above: A corner of the autograph room 
at " Dios Dorados " which contains 
letters and documents signed by his- 
torical, stage, and literary celebrities of 
England and America. 

The main hall, through the arch of 
which is seen the living room, with its 
novel grille similar to those found in 
old houses of Spanish origin. Note the 
beautiful wrought iron work every- 
where. 



*.. *v 



Mrs. Thomas Ince with her three sons; Bill (left), Dick and Harry. 



. ^ 









tN 



(Mir 



The breakfast room has a colour scheme of blue, green and yellow. 
It has antique yellow lacquer furniture and is a very cheery spot. 



46 



Picture* *nd Pich/reooer 



JANUARY" 1925 



he Stah 
With A 
Broken 
Neck 



Dick Talmadge has 

earned this unique 

title. 




Above : Dick leaves the hospital as good 
as new. 

The case of the rotund little 
gentleman of nursery rhyme 
fame, who owned to an ill- 
advised passion for balancing 
on walls, bears some resemblance to that 
of Richard Talmadge, film star, inasmuch 



stunt 



Above : Dick and his Doctor with the patent collar he zcore 
for several weeks. 



Left: Dick in hospital harness. Above: Back in ordinary 
harness in "Danger Ahead." 



body knows, is one of the most intrepid 
stunt stars on the screen, has had more 
than one hairbreadth escape from 
death, and has got off with nothing 
worse than a few bruises, or a frac- 
tured rib or so. But in .his recent film 
Let's Go an unusually daring stunt 
nearly ended in disaster. The scenario 
called for him to jump from a tre- 
mendous height on to a moving train. 
An eye witness says that he seemed to 
slip almost in mid-air, and the next 
thing the horrified onlookers knew was 
that he was lying in a huddled heap on 
the ground. 

"VY/hen the news that Dick was sufTer- 
' ing from a broken neck went 
round it was a foregone conclusion that 
his mortal career was at an end. He was 
rushed off to hospital, and while his 
sorrowing friends were discussing the 
respective merits of white lilies and 
chrysanthemums, the skilful fingers of 
two of the hospital surgeons were 
mending the broken neck and bringing 
him back to life. Within a fort- 
night of his accident he had left the 
hospital, and was taking light exercise 
in his garden to prove his fitness. Dick's 
astounding recovery is the marvel of 
Hollywood. 

Quite a number of people have a 
mistaken impression that Dick is re- 
lated to the Talmadge sisters. As a 
matter of fact his real name is not 
Talmadge but Richard Metzetti. He 
is an Italian, and his first screen 
appearances were made when he 
doubled for other actors who were 
unable to do the difficult feats de- 
manded by the scenario. He met 
Douglas Fairbanks about a year ago. 
who took and instant liking to the 
young Italian. The result was that 
others began to recognise Dick's possi- 
bilities, and before long he had signed 
a contract and was taking his first star- 
ring role. Appropriately enough, his 
next production is titled Adventurous 
Youth ! E. E. B. 



as both suffered 
a severe fall for their 
pains. But here the 
resemblance stops, for 
of the first it is re- 
corded that " Not all 
the king's horses and 
all the king's men 
could put Humpty 
Dumpty together 
again." And fortun- 
ately for Richard and 
his many devoted ad- 
mirers, medical skill 
has saved him from 
a like fate. 

Dick, who, as every- 



JANUARY 1925 



Picture s and Picture puer 



e 



evircsevvewkEK 



You can spell it either way, with one " r " for the Kansas 

town where she was born or with two " r's " for Claire herself 

and you'll be right each time. 



Claire? She's a Cawker. 
Spell it either way. 
With one " r " for the town where 
she was born. 

With two " r's " for Claire herself. 

For she's a game little soul, and a 
clever little soul, and as lovely a little 
soul as you'll find in a mid-winter day. 
Claire's taken the knocks that life gave 
her and bobbed up smiling. She has 
taken the knocks that casting directors 
and producers gave her and come up 
smiling still. 

Claire as an actress has never made a 
great shine — I do not think she will ever 
make a very great shine — but she has 
rested the eyes of picturegoers, tired of 
artificial beauty, all the world over. 
Claire is a thing to make any picture 
lovely. She cries out, with every line of 
her body and expression of her face, for 
ungrudging superlatives of admiration. 
Oh, she's a corker, Claire. . . . Only 
that's not her name. 

Her real name is Ola Kronk. 



Claire Windsor with 
a fan letter she re- 
ceived from Sheik 
Ali Ibrahim of 
Arabia. 









Claire Windsor and her son Billy are both ardent golfers. 



She told me so .herself, in our first few 
minutes of conversation, because, she said, 
the name was so ugly that she likes to 
relieve her soul with a full confession of 
it from the beginning. I can dimly hear her 
telling me the early story of Ola — but only 
dimly, for to be truthful those first minutes 
of our interview are still in my memory little 
more than a dream of gold and apple- 
blossom and beauty. Claire's too lovely. 

Che takes your breath away. She seems to 
have more than her fair share of the 
good things of Aphrodite, so many charms, 
such an assemblage of all the lovely things 
that belong to all the lovely women of the 
screen, that you can scarcely believe in her 
as an individual being at all. 

The princesses in fairy stories, with hair 
like the sun and eyes like the stars and 
cheeks like the blossom of a May morning 
must have come to Claire's christening, and 
made .her like themselves. 

Right through the first part of the con- 
versation I was studying her colouring, so 
blue and pink and gold, and the grace of 
her movement, and the fit of her simple 
white frock and close-clinging toque. I 
believe she told me that she had been play- 
ing tennis — that she always played tennis 
when she had been working hard, to rest 
her mind. 

I believe she told me that her mother 
looked after Billy while she was at the 
studio, but that she always hurried home 



48 



Pictures and Pict\jreOuer 



JANUARY 1925 



posed to look like my ancestors in the 

old country." 

I wondered secretly if there was ever 
Viking lady born who looked like 




With Lew Cody in " Nellie, the Beautiful 

' Cloak Model." 
as soon as work allowed, to supervise 
Billy's meals and sleep and playtimes. 
And I believe she told me — but really I 
didn't gather much, of it in those first 
few dazzling minutes. That's why I 
can't tell you very much about Ola 
Kronk. 

T came to myself with a start to hear 
*■ Claire announcing that her real name 
always reminded .her of part of a motor 
car. 

" The Kronk part, you know. I was 
very glad when Miss Weber made me 
change it for the screen." 

" At least it's unusual," I murmured. 

" It's Scandinavian," answered Claire. 

" But I thought you were born in 
Cawker City?" 

" Oh, yes, I'm Kansas born all right, 
but I'm Scandinavian by descent, and 
even when I was a tiny mite I was sup- 

Claire and Bert Lvtell in "Born Rich' 




Above : A new portrait. Left : 
Ernest Linnenkampf chose 
her as one of America's 
fifteen most beautiful women. 

Claire. If there was, I 
somehow don't think the 
Vikings would have sailed 
for England in such, a 
hurry. 

" And your little boy has 
got it too?" I said aloud. 

" Yes, Billy's a real 
Norseman," she answered, 
her face lighting up 
proudly, " and though I am 
his mother, he's a fine little 
boy. Sometimes I can't 
resist the temptation to take 
him to the studio and show 
him off. He does so badly 
want to go, and everyone 
loves to see him there, for 
he is so quick and such a 
companionable little soul. But I try not 
to do it very often, for I have deter- 
mined that Billy shall not be spoiled like 
the children of so many stage and 
screen stars. 

T want him to have a regular home life, 
A with proper meals and education, 
and all that sort of thing. Of course 
I spoil him some myself. Whenever I 
go to any dance or party I always save 
him some little souvenir, and he keeps 
awake till I come back wondering what 
I'll bring him. But I don't want to talk 
about Billy too much — mothers are so 
boring when they talk about their 
children." 
Before I had time to contradict her 



JANUARY 1925 



Plchjre s and Picture pver 



V 



she was flashing off on another strand 
of thought. 

" The name of Kronk," she said, "was 
very nearly going to have been famous. 
Did you know that?" 

"As a screen star?" I asked. 

" No," said Claire, " as an opera 
singer. When I was at school I sud- 
denly developed a voice, and my music 
teacher sent home to fell my father and 
mother that with training 1 might 
become a very famous soprano. 

" I was getting on famously, and saw 
myself a prima donna, when a dread- 
ful thing happened. I lost my voice ! I 
was out with a skating party of my 
school friends one winter afternoon, 
and suddenly- -well, I don't quite know 
what happened — but I fell, and my 
throat felt queer, and the doctors told 
me I had strained my vocal chords." 
" Luck for the screen," I murmured. 

Claire and Bert Lytell are a favourite 
pair of screen lovers. 



Claire 
Windsor's 
home in Beverly 
Hills, 
California. 




Below : 
She 
would 
make a 
delight- 
ful man- 
nequin. 







Left : Herbert Ra-^lin- 
son, Clai>e Windsor, and 
Aileen Pringle on their 
way to open a new 
Movie Theatre at St. 
Louis. 



" That's as may be," answered Claire 
coolly, " anyway, I didn't think of the 
screen for a long time after." 

"Didn't you dance?" I asked. 

" Was there ever a star in Holly- 
wood," asked Claire, " who didn't dance 
at one time?" 

" Yes," I said promptly, " Joe 
Martin !" 

Claire laughed. She laughs quickly. 
She laughs delightfully. There is a 
quirk at the corners of her mouth. 

" I've been told," she said, " that I 
was a waitress before I went into 
moving pictures. Lots of people have 
told me so. I dare say even you have 
believed it." 

I looked uncomfortable, and said " O, 
NOV 

" Which means O YES !" said Claire. 
" Well, I was a waitress, but only of 
the studio kind. It was in my first pic- 
ture, a bit I got as an extra, and the 
story of that part has haunted me all 
my life since that time." 

" Then you didn't dance?" I persisted. 

" f}h yes, I danced," said Claire " I 

^"^ danced all over Seattle, and all 
through the war I used to give charity 
matinees and dancing exhibitions for 
the various War Funds. But right at 
the end of the War I went with Billy 
and my mother and father to reside in 
Los Angeles. And it was through the 
girl in the next apartment that I got my 
first introduction to the motion picture 
studios." 

" So they saw you — and liked you," 
said I. "And made you a waitress?" 

" Luckily," said Claire, " without 
much of the usual waiting, and then 
came a big stroke of luck. Lois Weber 
saw me and took a fancy to my looks 
and asked me to sign a contract to 
appear in several of her pictures. 

" How many films did you make with 
Miss Weber?" I asked. 

" Oh, I can't remember exactly," said 
Claire. " I remember the early ones, 



50 



Pictures and Pichureover 



JANUARY 1925 



What Do Men Want, What's Worth 
While, and Too Wise Wives — I seem to 
have specialised in wives," she added. 

"Which other ones?" I asked. 

." Rich Men's," she answered. 

" That was long ago though. I've 
also made Brothers Under the Skin, 
The Strangers' Banquet, The Eternal 
Three and a good old melodrama, 
Nellie The Beautiful Cloak Model. And 
lately I've been working with Bert 
Lytell in Bom Rich." 

Che paused, and said contemplatively, 
^ " Somehow, in the movies, I always 
am born rich. I wish I wasn't. For my- 
self, I prefer to play poor girl parts — 
but they won't let me. They say I have 
the gift of wearing clothes, so I wear 
one beautiful gown after another until 

Below : A beautiful camera study of 
Claire. 




On location with Edwin Car ewe for '' The Sultan's Slave." 



understood the inscription, and 
after a great deal of delay had 
managed to re-address it in 
English and mail it on to Los 
Angeles. 

I glanced at it. It was — er — 
Arabic to -me. 

" So it is to everybody else." 
said Claire, noticing my puzzled 
expression, " but I've had it trans- 
lated, and I can tell you exactly 
what it means. The gentleman 
who writes it in that beautiful 
Arabian hand is a sheik named 
Ali Ibrahim. He says that he 
has seen me in a picture palace in 
Mecca, and had decided that I am 
wonderful, a fact that he thinks 
I ought to know." 

" Wait," said Claire, " he 
can do much better than that. 



He asks me for my picture 
and sends me his. He tells 
me he is a Nomad and ends up, ' when 
I am travelling I have nothing to do but 
think, and that is always of a delicate 
flower — You !' Lucky," said Claire, pen- 
sively, " that he doesn't know my real 
name is Ola Kronk!" 

I blushed a little. I couldn't help 
it. I remembered my own first 
impressions of her. That slender gold 
and white lily in the theatre in New 
York, and the faint perfume and the 
clinging drapery, and the essential 
flower-like sweetness of her. 

" Methinks," I murmured to myself 
as I got up to go, " that the Sheik Ali 
Ibrahim and I, in spite of all the leagues 
that lie between us are Brothers Under 
The Skin!" 

Silas Hounder. 




Right 



With Hobart Bosworth in " The 
Eternal Three." 



I am almost satiated with luxury." 

She paused and turned to the desk 
behind her. She drew out of a pigeon- 
hole a great bundle of letters carefully 
docketed and tied up with ribbon. 

" I've not dealt with these yet," she 
said, slipping out the top one and look- 
ing at it, " but most of my fan mail 
usually comes from women." 

Claire drew out a very curious look- 
ing letter from a pile on the desk behind 
us. She handed it across to me with 
a light laugh. " This," she said, " is a 
very different sort of fan mail." 

The letter was in Arabic, and had 
been posted in Damascus in Feb., 1923, 
with the original address written in 
Arabic also. Evidently some brainy 
French postal authorities in Syria had 



JANUARY 1925 



Pictxjre s and Pic hjre Wer 



51 




urxestkatReackec 
Your Heart 



Via the kinema orchestra. 




BLUMENGEFLUSTER. 



Tb»Wbitp>rio(or the Plower» 



Murmur** da* PWurv 




Sentimental moments like this 
one (Right) are often accom- 
panied by the soulful strains of 
" Liebestraum " (Hawkes and 
Co.) The nocturne, however, 
goes equally well with the scene from 
" Love and Sacrifice." Bottom right. 



«<rr-i] 



At the head of this column are a few bars 
of "In a Country Lane," by Eric Coates, 
No.lof'Summer Days" (Chap pell & Co.). 



ra-la-la, tra-la-la, om-pom, tra- 
lala!" 

What would you say if, 
walking- into a darkened room, 
you heard someone making this noise? 
Perhaps you would say nothing, and 
only beat a hasty retreat — thinking you 
had, somehow or other, found your way 
into a .cell occupied by a poor human 
creature visited by mental affliction. 
And if, during your glimpse of the 
apartment, you noticed a kinemato- 
graph film playing upon a screen, you 
would decide that this method of enter- 
taining the unfortunate patient was 
doing more harm than good. 
" La, la, la, la, la, la, la, la !" 
There he goes again, up and down 
the scale. Poor fellow. That cowboy 
film is much too exciting. 

" "Tali, ta-ra-ra ! Tah, ta-ra-ra ! 
Tah, ta-ra-ra !" 

There he goes again ! The scene 
changes ! The patient looks at his 
watch ! It'.s a stop-watch ! 

"Two minutes!" he murmurs. 

Ah ! The film has flashed over to a 
regal court. Two heralds are about to" 
sound the arrival of their majesties. 

" Tah, la, la, lah, la. La ! La ! La !" 

The patient is piping that part of the 
" Casse Noisette " suite which opens 
with the strident trumpet notes. 

Eureka ! The poor lad has music on 
the brain. Been listening-in too much, 
mayhap, or perchance, somebody has hit 
him on the head with a trombone ! 

Nothing of the sort. The " patient " 
is simply a musical expert engaged in 
fitting suitable music to a film before it 
goes out to the kincmas. He is care- 
fully studying each scene as it appears 




Picture s and Picture $ver 



JANUARY 1925 



on the screen, and from the depths of 
the immense number of musical pieces 
he has memorised, he is selecting 
various appropriate items, and jotting 
them down on a piece of paper. The 
stop-watch is to indicate exactly how 
long each item shall last. Owing to 
quick changes in the screen action, 
many of the pieces have to be cut short 
before they are half-way through. 
All the leading film companies issue 

Right : Constance Tahnadge and Ronald 
Cohnan in "A Night of Romance." Oval : 
J. Warren Kerrigan with Herbert 
Parson's song specially composed for 
" Captain Blood." Bclo-a; : Dick Barthel- 
mess and Madge Evans in " Classmates." 



COMEDY. 

tCm KACZ AJtO KOTO* lCINU,CIKMnX A*D dtviLX tlTOATIOKS) 



fH- 




Right : 

When 

Mendelssohn's 

" Wedding 

March" ' 

zvorks 

overtime. 





J 



lists of '"musical suggestions" to accom- 
pany each photoplay they issue, and the 
best kinemas do their best to follow 
these suggestions. 

It all depends on the extent of the 
" library " of music held by the kinema 
concerned. The principal halls have 
stacks and stacks of music, each item 
having separate "parts" for the various 
instruments in the orchestra. Never- 
theless, a competent musical director 
never imagines his stock is complete. 



(Winthorp and Rogers). 
but adds to it weekly. The bigger the 
orchestra, the more money is required 
to keep the library going. A complete 
set of band parts for, say, a symphony, 
may run into a couple of guineas, while 
" popular stuff " may cost two shillings. 

Where a melody is written specially 
for the film, band parts are sometimes 
provided free of charge by the film 
company. 

This question of expense explains 



JANUARY 1925 



Pictures and PichjreVve" 



S3 




This popular song from " Mary " {Chap pell and Co.), 
is a universally beloved selection for a light love scene. 

why at the smaller picture theatres one is treated to 
the same music over and over again — until one gets 
heartily sick of it. Indeed, certain halls are notorious 
for their habit of playing exactly the same piece to 
each type of screen action. 

This species of kine'ma will give you the " Dash- 
Galop " with every scene of a horse race, Tosti's 
" Goodbye " with every love scene, " 1812 " Over- 
ture with every battle episode, and " Dead March in Saul "' 
with even " death " scene. I have heard of solo accom- 
panists — piano 01 organ — making the same piece of music do 
for any type of scene, by the simple means of altering the 
tempo. (This may seem an exaggeration, but it is certainly 
possible to transform, say, a popular . 

waltz into a religious chant by slow- 
ing the time down, and delivering each 
note as an impressive chord. Try it on 
your piano with " The Merry Widow ' 
waltz, and see if it doesn't turn it into 
a well-known " legato " frequently used 
in church.) 

f~\n the other hand, an up-to-date pic- 
^^ ture theatre orchestra, with its ex- 
tensive repertoire, varies its music so 
much that even a poor picture pro- 
gramme can be endured. In fact, 
there art many people who go to the 
kinema more for hearing the music 
than to see films. 

By this means one beoomcs 
familiarised with many varied pieces, 
the only difficulty being to learn the 
names of them, so that one can, if 
desired, buy the piano score or the 
gramophone recordings, and thus enjoy 
these compositions at home. 

Later on in this article I strive to 
assist the reader in this matter. 

In this connection, it was that cele- 
hrated musical critic Ernest New- 
man, I think, who stated that one can 
often hear a performance of popular 
classical melodies by a kinema 
orchestra which compared very favour- 
ably with the renderings in some of the 
recognised concert halls. 

Let this not be construed to mean 



that only "high-brow" nunc should be played in kinen 
On the contrary, if a particular scene calli for " jazz," by all 

meant Id ui lun e " j.i//." 

The use of music with films is not merely to break the 
silence — although it must !><• admitted that to view a film 
without some -sort of musical accompaniment is like an ctj 
without salt. No, more than being simply an embellishment, 
the music is part of the film performance itself 

And the main essentials towards a perfect combination 
of the two arts is that the music shall partly express the 
atmosphere of the various incidents, shall provide a phasing 

' background" to the scraen story, but shall not, at any time, 
obtrude itself over and above the picture. 

The perfect musical accompaniment occurs when one's 
attention is not for one moment distracted from the screen 
to the orchestra. 

And that is where the expert music " fitter " comes in. As 
mentioned above, all the leading film companies employ some- 





The title "Mysterious Purioso" (U'inthorp 
and Rogers) explains its value. Mendels- 
sohn's "Midsummer Sight" (Lafleur) is 
often played for film firework displays. 




Pictures and PichjretyOer 

OVERTURE 

FINGALS CAVE. 



JANUARY 1925 



Piano Conductor 



Allegro moderate* 




(Hawkes & Co.). 

Everyone knows this rippling melody to 
which sea scenes are invariably screened. 

one to see each picture beforehand and 
to suggest the most appropriate type of 
music for each scene therein. 

Hence the "Tra-la-la-la " of my open- 
ing paragraph. Sitting there in the 
firm's private theatre, watching the 
film flit through, each scene or incident 
suggests to the expert viewer a certain 
kind of music — perhaps an actual piece. 
Indeed, the usual plan is for him to 
name a particular selection in every 
case. In the next instalment of this 
article I will give a fragment of the 
" musical suggestions " compiled by 
that well-known London musical direc- 
tor, J. B. Hastings, for the film Between 
Friends. 

Such musical suggestion sheets, 
which are sent to every kinema which 
books the film in question, also include 
" effects " cues Thus, here and there 
throughout the lists you will find such 
remarks as : " Observe pistol shot," 
" Note chiming bells," and so on. 

There are two kinds of selections to 
accompany films. Firstly, there is the 
music that is suitable because of its 
SOUND, that is, because of the 
emotion it conveys. Secondly, there is 
the music that is suitable because of its 
NAME— its TITLE. 

As an example of the first, it is only 
necessary to point out the popular 
" Hebrides " overtifre by Mendelssohn 
known as " Fingal's Cave." This is so 
obviously suggestive of the sea, that 
kinema orchestras naturally apply it to 
a sea scene. 

" Fingal's Cave " was written by 
Mendelssohn on the very spot which 
gave it its title. It starts off with a 
theme of about seven notes played 
" bass." This theme is reiterated all 
the way through the overture, from the 




A Jazz scene in "Between Friends" and part of the music Herbert Parsons wrote for it. 



soft parts indicative of calm, during 
the bars typifying approaching storm. 
a restless sea, and squawking sea-gulls, 
and also with the thunderous episodes 
conveying the impression of angry 
waves booming into the mouth of the 
cave. Such is its nature that a com- 
petent orchestra leader can select those 
parts he wants and repeats them ad lib. 
Ships ploughing their way through 



angry seas are usually accompanied by 
Wagner's " Flying Dutchman " over- 
ture, rather like a more vivid edition of 
" Fingal's Cave." Herbert Parsons. 
(Reproductions of copyright musical 
selections by kind permission of 
Hawkes & Co., Winthorp & Rogers, 
Chappcll & Co., Lafleur, Boswortlt and 
Co., and H. Milter & Co.) 
(To be continued). 



JANUARY 1925 



Pictures an d Pichuretyver 




abesret N 



Invading the realms of London's night life 
with a movie camera. 



H 



avc you ever wondered, as you 
sat in the kinema and watched the 
Cabaret on the screen, just how 
much like the real thing these 
representations were? If so, you will 
soon have the opportunity of comparing 
the genuine article with the film pro- 
ducer's idea. 

Harry B. Parkinson, who you will 
remember only a short time ago cap- 
tured " Wonderful London " in his 
film camera, has secured a series of 
twelve films showing the honest-to- 
gcodness London night life. 

For six months he has been working 
whilst the rest of the world has been 
asleep. In the wee small hours of the 
morning he has visited the haunts of 
the gay in order to show exactly what 
Cabaret and Night Club life are like. 

" I 'his means that for the small cost of 
an ordinary "tip up" the kinemagoer 
will be able to visit the exclusive 
Cabarets, and Night Clubs, the cost of 
an evening's entertainment at which 
frequently runs into tens pounds or 
more per head. 

Here on the screen will be seen the 
most famous Cabaret stars in the world, 
the most beautiful girls in two Conti- 
nents, the most " outre " of stage 
dresses, and the most original of enter- 
tainments, besides the most wonderful 
modern dancing. 

As no Cabaret or Night Club boasts 
of lights sufficiently powerful to allow 
of filming, Parkinson had to take his 
own light. A huge lorry with a port- 
able generator was prepared, and care- 




fully hidden out- 
side the building 
where the film 
was to be made. 

Then huge arcs and 
searchlights, as used in 
the Studios, were set up in 
the dance and supper 
rooms. These also had to 
be carefully disguised and 
hidden in order that the 
guests and per- 
formers might 
not be conscious 
of the fact that 
they were being 
filmed. Many 

people commented 
on the wonderful 
lighting but few 
suspected the real 
reason for it. 

The camera- 
man and his machine were usually 
secreted behind banks of ferns and 
flowers, and for the two hours when 
the fun was at its height he clung 
desperately to his camera. 

Frequently he was in such a cramped 
position on being released, that his legs 
had to be massaged before he could 
walk. Harry Parkinson 
usually appeared as one of 
the guests, and by 
cleverly worked out sig- 
nals, indicated to the 
electricians working the 
lights, and the camera- 
man, just what he wanted. 



and Terry Kendal ("Midnight 
Follies ") at the Metropole. 

It is estimated that had Harry 
Parkinson been able to engage all the 
artistes who appear in the series of 
twelve Pioneer films, their salaries list 
would have run into thousands. 



Four of the " Frivolities 
Princes. 



at the New 



:".*-' 




Right : 
" Hootin' 
de 
Hoot " 
("Piccadilly 
Revels ") 
at the 
Piccadillv 
Hotel. 




Pictures at\d Pic l\i reaver 



JANUARY 1925 







^N 



Reading downwards : 
Charles Ray, Cullen 
Landis, and Harry 
Carey demonstrating 
the approved methods 
of dealing with screen 
villains. 




Richard Dix disposed ofjhe villainess (Betty Compson) in " The Woman With Four 
Faces," by converting and afterwards marrying her. 



Having successfully tried all the old methods 

of getting rid of their villains, movie-makers 

are busily evolving brand new ones. 

Whatever would film producers do if 
villains became scarce? Suppose, for 
instance, that a tremendous wave of 
revivalism swept over the world regen- 
erating mankind — how the movies would suffer ! 

It is the villain who makes the screen drama, 
of course. Without him the hero would have no 
chance to exploit his courage, his detective 
talents or his highbrow morals ; while the heroine 
would miss an infinite number of opportunities 
for fainting gracefully into her intrepid lover's 
arms ! 

When a scenarist sets out to write a filmplay, 
therefore, his very first move is to select a villain. 
Of course, there are villains and villains ! There 
are the out-and-out evil 
plotters and arch schemers ; 
and there are the merely 
medium bad men who 
simply wreck other folks' 
affairs by interference and 
sheer incompetence. 

If the author is deter- 
mined to build his story 
around a villain of deep 
dye he can choose be- 
tween the Society vil- 
lain, who understands 
the sartorial art better 
than any hero yet in- 
vented; the adven- 
turous villain who specialises 
in pi<" aresque robberies 
hold-ups and card tricks 
the Oriental rogue, wit' 
slant eyes and an evil 
looking dagger; or the low 
down. honest-to-badness 
rascal of the unshaven chin 
and badanna neckerchief. 

A hero, a heroine, a few- 
relatives and friends, and, 
possibly, a villainess are fitted in. The 
villain gets busy — the movie is made. 



Almost made, that is to say! It is 
quite a simple matter for thehero to 
disentangle his love affairs, straighten 
out the family finances and set every- 
thing working towards a happy-ever- 
after ending ! 

Even the heroine can do all this, on 
occasions, and especially when she is a 
star in her own rights ! But there is a 
much more difficult problem to. be solved 
by the screen author — the villain must 
be got rid of ! 

Although the " happy ending " does 
not always furnish, the most artistic or 
the most natural finish to a film it is the 
one most popular with the general 



JANUARY 1925 



Picture s and Picture puer 



57 



picture-going public. Folks who pay 
anything up to half-a-crown to own a 
plush scat in a kinema for a couple of 
hours expect to get their money's 
worth of enjoyment. 

And, though there are a few people 
who are happiest when most miserable, 
the majority prefer to be able to ex- 
claim, as the lights go up after the final 
fade-out, " There, 1 knew it would all 
come right in the end!" 

So the villain must be got out of the 
way somehow and so effectively that 
there shall be no possibility of him turn- 
ing up again to wreck the course of true 
love. It's nothing like so easy to get 
rid of a villain, however, as it is for 
a villain to dispose of his victims. 

If he is the bad man of a serial, for 
instance, he always lives in a house 
simply overstocked with trapdoors, 
secret wells and underground passages ; 
while the hero has his home in an 
ordinary four-walled building positively 
void of any such useful contrivances ! 

The author sometimes plans, there- 
fore, for the hero to meet the rascal on 
the edge of a forbidding cliff. The 
rough-and-tumble, which nearly always 
ensues in the movie world when the 
good man meets his arch-enemy, is so 

nicely timed that it is always the plotter who goes over the 
edge. 

lThat is such a favourite method of disposing of the villain 

that every kinema-goer can recall numerous illustrative 

examples. Sometimes it is a balcony instead of a cliff, as 

in Glimpses of the Moon, when Maurice Costello, as the 

villain of the piece, is hurled to his death. 

There is ever the popular, time-honoured plan of bringing 
in a policeman just as the villain is about to clinch his 
final argument. If he is the sartorially perfect Society villain 
he will merely straighten his tie, give an extra twist to his 
elegantly waxed moustache — few Society villains are clean- 
shaven — shrug his immaculate shoulders and march, out under 
the escort of the Law with but a scornful glance at his erst- 
while victims. 

Should he be the shabby bad man of the under-world he 
will probably require handcuffs, and his fade-out from the 
film will be forcible than artistic. The 
adventurous villain of the great out- 
doors is generally treated with, scant 
ceremony and suffers short shrift at the 





Above : The serial 
way. Pearl White 
is an adept at this. 



Above : 
The comedy 
Lupino Lane knocks 'cm out in " A 
Friendly Husband." 

hands of the sheriff's posse which 
effects his capture. A near-by tree often 
suffices to give him a picturesque exit 
from life in that film. 

Other quite handy and familiar ways 
of getting rid of shadow sheet rogues 
are burning them in houses which they 
themselves have maliciously fired to 
trap the hero; poisoning them with 'heir 
own poison destined originally for the 
heroine; throwing them overboard; and 
blowing them up with their own pet 
bombs. 

Walter Long, famous expert in screen 
villainy, could give budding film-play 
writers a carefully prepared list of 
tested methods for ousting villains. 

" I have been shot, hurled from preci- 
pices, choked to death, drowned and 
poisoned," Long once told an inter- 
viewer. " In The Sheik, in the role of 
' Omair,' I was killed in the desert. 
(Continued on page 74.) 



58 



Pictures and PichureO&er 



JANUARY 1925 



/ \e l&r\c 




& ALMA TAYLOR 



For "The Shadow of Egypt" Alma 

Taylor paid her first visit to the land 

of the Pharaohs. 

Have you ever visited a place for 
the first time in your life, and felt 
that you were perfectly familiar 
with' it? If so, you can imagine my 
feelings when, after depositing my bag 
and baggage at the Winter Palace 
Hotel, at Luxor I walked out on to the 
Terrace to take my first glimpse of the 
Nile. 

It was a feeling I shall not easily for- 
get. I was not in the least surprised 
to hear the monotonous rhythm of the 
boatmen's songs. I felt as if I had 
.heard them all before. What did sur- 
prise me was to be met with the chorus 
of "Yes, we have no bananas," from 
the dark-skinned, fascinating little 
urchins who pester the English visitors 
for pennies in the streets and bazaars. 

TV/ly visit to Egypt was a wonderful ex- 
perience in every way, as it was for 
the first film in which I have appeared 
in which I have not been directed by 
Cecil Hepworth, and it was the first 
occasion on which I had used grease- 
paint for my film make-up. Despite the 
terrific heat and the attacks of 
mosquitoes, Egypt impressed me very 
much indeed. 

Sidney Morgan, who was directing 
the film seemed to " feel " this strange 
atmosphere too, at which he was 
delighted, for it was to capture this in 
the film that we had travelled from 
England. 

I think everyone who sees The 
Shadow of Egypt will agree that our 
6,000 miles' journey was well worth the 
trouble, for no studio setting, however 
elaborately built, could adequately con- 
vey the majesty and mystic fascination 
with whicb these real backgrounds in- 
bue the film. 

tTilming in Egyptian sunshine is not the 
ideal business one would imagine. 
The heat, the flies, and sometimes the 
smells, make one long for the English 
countryside ; but the wonderful awe- 
inspiring Temples, the Obelisks, and 
last but not least the Sphinx and the 
Pyramids, win one's admiration as soon 
as the cool of the evening appit)aches. 
Perhaps you may be able to judge 
something of the insignificance one feels 
on visiting these century-old famous 
places, when you see the Temple of 
Karnak, the Valley of the Kings, and 
the Ptolemy Gateway in the film. How 
inconspicuous one feels amidst these 




A snapshot of Sydney Morgan 

(right) and Carlyle Blackwell 

taken at Karnak. 

miles and miles of desert, meeting the 
sky on the far distant horizon ! 

How puny are our efforts at modern 
city building when compared with the 
beauty and size of these ancient 
Temples ! How ignorant of art are we 



Above : Alma Taylor and Milton Rosmer 

before the Sphinx and a Pyramid. Left 

Circle : Alma Taylor. 

twentieth century beings when we take 
a glimpse at the exquisite workmanship 
on the walls of the Tombs of the 
Pharaohs. 

We try to imagine we are wise in our 
generation, but visit Egypt, and one 
wonders what further undiscovered 
secrets these towering rocks may hold. 

In my spare time I visited several of 
the native bazaars and had the good 
luck to find a really beautiful scarab 
brooch. Bargains in these shops are 
really few and far between, for as is 
common knowledge most of " the lovely 
antique treasures " from the Tombs are 
imported from the South of England, 
and as Milton Rosmer as my film hus- 
band in The Shadow of Egypt dis- 
covered to his sorrow, the real treasures 
are regarded as supremely sacred by all 
Egyptians. 



The market blace in " The Shadow of Epypt." This was a realistic studio 'set.' 




JANUARY 1925 



Pictures ar\ d PichweV ue^ 



59 



U^JJl 







*<■»- 



Os 




Flora le Breton 

The Popular Film Star, says : — 

"EASTERN FOAM is delightfully 
refreshing to the skin, and, moreover 
has a most fascinating perfume. 
For protection from East Winds I 
have found it excellent." 



3 




Jt is ae t 
refresfim 



WHATEVER Dame Fashion 
decrees — simplicity or frills — 
a woman is expected to have a 
dainty and fresh complexion . Although 
the wind blows from the East, and the 
day has been hard and exhausting, 
Eastern Foam Vanishing Cream will 
always come to the rescue and prove 
itself worthy of all that has been said 
of it. Eastern Foam produces that 
youthful freshness and soft natural 
bloom which are so admired in a 
woman's complexion. Its fragrance 
alone is a tonic which soothes and 
refreshes the tired nerves and brings 
back a delicate flush to the cheeks. 

EASTERN FOAM is sold in 
Large Pots (Price 1/4) by 
all Chemists and Stores. 

Sample Size in 3d. Boxes. 



PATTERN OF FANCY DRESS COSTUME 

A paper pattern of the costume of the famous"EASTERN 
Foam "Girl will be sent post free for od., together with 
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Write, stating whether Child's or Adult's size (34, 36 or 38 
inch bust), to — Eastern Foam (Pattern Dept.), 
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Use " K A LOS AN" Tooth Paste — as good as ''Eastern Foam. 



60 



Pictures and Pichjrespver 



JANUARY 1925 



Brickbats 

& Bouquets 

This page constitutes a Picturegoer's 

Parliament. Send a letter to the Editor 

expounding your views. 




Above : Pauline 
Frederick. Right 
Alice Terry. 




Mae Murray 



A British Bouquet. 

A huge bouquet for Ralph Forbes 

because he's so sweet — and British ! 

As well as being one of the youngest 

he is by far the cleverest of our film 

Jill (Nottingham). 

Not a Mae Murray Fan. 

I am going to hurl a brickbat at Mae 
Murray whose film personality irritates 
me beyond words. In Circe, the 
Enchantress, she is more than usually 
annoying, although I must in justice 
confess that she has flashes in which 
her undeniable talent asserts itself. 
The scene in which she walks for the 
first time after her accident is very 
cleverly done, and her make-up 
as the child is good. But she 
spoils a good sense of 
dramatic value by her absurdly 
exaggerated style of make-up 
and clothes. Her walk also is 
enough to give one the pip, 
although she dances very well. 
F. H. (London). 



Rudy Valentino delivering a brickbat. 

Not His Job. 

I want to throw an especially hard 
brickbat at Rudolph Valentino. A 
month ago this would have been a 
bouquet, for I have always admired 
his acting very much. It is his "poetry 
and philosophy," as illustrated in his 
lately published book " Day Dreams " 
that arouses all my ire against the 
man. Why couldn't he stick to the 
acting sphere in which he really shines 
and leave the writing of bad verse to 
the long-haired brethren? 

Ermyxtrude (Kensington). 

Bouquets Wholesale! 

I present the biggest bouquet imagin- 
able to Norman Kerry, whom I saw in 
Merry-Go-Round. I think he's gor- 
geous ! Although I love Norman best 
I also present bouquets to Rudy (and 
wife), Ivor, Ramon, Jacques Catelain, 
Dick Barthelmess, John Barrymore, 
Harrison Ford, Reginald Denny. 
Edmund Lowe, Jackie Coogan, Peter 
Dear, Baby Peggy, Rex Ingram and 
Alice Terry. And, last but not least, 
" George " of 'the " Answers " page, 
whom I just love ! 

April (Bristol). 

The Perfect Smile. 

There are all sorts and sizes of 
smiles to be seen in Filmland. Some 
positively give you the creeps ; some 
remind you of the dental chair; some 
make you feel thoroughly pleased with 
yourself and everyone else. 

But there's only one like Pola 
Negri's — her own ! 

Sharp Shooter. 

One for Pauline. 

A big bouquet to Pauline Frederick, 
who is, in my opinion, the screen's best 
emotional actress. I only wish she 
would let us see more of her work, 
instead of quitting the screen for such 
long intervals, and leaving .her admirers 
desolate ! 

J. L. (Bognor). 



JANUARY 1925 



PicKire s and Pichjre Qoer 



61 




Secret 

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^t,^/ TV /f R- TOM DOUGLAS is the latest member of the theatrical profession 
I Y I to express his appreciation of POXD'S COLD CREAM. 
^ ■*• After referring to the excellence of this Cream for the purpose of 
removing grease-paint and cleansing the skin (a purpose which is keenly 
appreciated in all stage circles), Mr. Douglas adds — 

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soothing and cooling for ' after shaving 

v#./ Every man who prefers to make his morning and evening 
£<U shaves a leisurely joy rather than a hurried duty, and 

every man whose skin feels stung by the steel's sharp 

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62 



PicKire s and Pfc/x/re poer 



JANUARY 1925 




£L Qf) A.M. Rise. Break the ice on 
"•-' v ' my bath and plunge in. 

6.45 a.m. Am up and out in the 
garden where I skip for ten minutes. 

7.10 a.m. After quarter of an hour 
spent digging amongst my roses — I am 
an enthusiastic gardener — I take my 
frugal breakfast in the sun-parlour. 
This consists of a thin slice of toast 
and a glass of orange water. I then 
don film make-up — in the ordinary way, 
of course, I always leave my com- 
plexion cm naturel — and at eight o'clock 
am at the studio, where I devote the 
morning to my beloved art. 

12.30 p.m. Lunch. A few vegetables 
and a glass of cold water. I eat only 




A few vegetables and a glass of water. 

a small quantity knowing that modera- 
tion in all things is essential if I am to 
be prepared for all the terrible sacrifices 
that my beloved art demands from me. 

All afternoon is devoted to my be- 
"^^ loved art. No afternoon tea — a per- 
nicious habit liable to ruin the com- 
plexion and the digestion. Sugar and 
pastries I avoid, and if my friends 
wish to please me they give me flowers 
rather than candies. I love flowers so 
much. They are so fresh, so pure, so 
wonderfully, wonderfully beautiful — 
the food on which I feed my aesthetic 
soul. 

Forgive my digressing like this but 
this is a subject on which I feel very 
deeply. The simple wild ones appeal 
to me most — I suppose this is because 
of my artistic temperament. I have 
known the occasion when " a purple 
orchid growing by the river's brink," 
as dear Ella Wilcox so beautifully puts 
it, has brought tears into my eyes. 

6.0 p.m. I leave the studio — unless, 
of course, my director wishes to 
" shoot " some night scenes, when I 
cheerfully stay until midnight. It is 
the thought of all the wonderful 
pleasure I am giving my beloved public 
that helps me to make this sacrifice. 

The car is waiting outside the studio 
for me, but I dismiss it and walk home 



as the exercise is so good for me. 

What a wonderful, wonderful place 
home is and how my heart yearns for 
it as I approach it up the long drive. 
My pet snake Pongo runs tc greet me 
affectionately as I enter the hall, and 
dear " Mommer " comes to welcome 
and embrace me. 

We are such " pals," Mommer and 
I. Nothing has ever come between us, 
and if we are parted for a day we feel 
it dreadfully. You see, she made me 
what I am to-day, and naturally I feel 
grateful. 

Then there are the cats to be seen, 
the parrot and the dogs and my hus- 
band. After that I bath and change 
for dinner and the meal is served up. 

This again consists principally of 
toast and a very few vegetables for me. 

'T'hen " Mommer " kisses me good 
night and goes to bed, and my hus- 
band and I repair to the blue salon 
together. Then begins the most won- 
derful, the most beautiful, hour of my 
whole day. I am, of course, 
passionately devoted to books and 
music — anything, in fact, of an 
aesthetic nature — and as I sit and knit 
jumpers for Hollywood's poor and 
needy my husband, who, did I mention, 
distinguishes himself by being a " pal 
and a lover " as well as a husband, my 
husband, T repeat, reads aloud to me. 

Something deep, something soul- 
searching, something teeming with 
wisdom and hidden meaning, is what 
appeals to us both. Something that 
carries us to the realms of higher 
thought. 




&* 



My husband reads aloud to me. 



If I remember rightly, the last we 
read together was dear Elinor Glyn's 
" Philosophy of the Ancient Romans." 
We are very fond, too, of Charlie 
Dickens' books, and our favourite of 
all his works is "The Keeper of an 
Eagle," or " The Way of the Door." 

Sometimes I sit at the piano, and in 
the half-light I play him some of the 
works of the old Masters that I love 



so well. Mendelssohn's " Song of a 
Banana " will ring tears of love to his 
eyes, and he breaks down completely 
when I play that quaint old English 
folk song " Here We Come a 
What'lling." 

10.0 p.m. Finds me in bed, and 1 
am asleep almost as soon as my head 
touches the pillow. So ends my day. 

Cometimes I take round " Band of 
** Hope " ribbons to the inmates of the 
Asylum for Prohibitionists, or I pro- 
vide High Teas for the widows and 
orphans of New York Trippers. In 
fact, never a day goes by without 
someone's benefitting by my benevo- 
lence. 

By Lola's Maid 

9.30 a.m. I call Lola and am sworn 
at. 




To produce a slim, girlish contour. 

10.30 ajn. I manage to persuade her 
to sit up and take some breakfast. 
Grape fruit, fish, toast and marmalade, 
and three cups of coffee. 

11.15 a.m. Lola's rather flowing 
figure is laced into a pair of the latest 
fat-reducing corsets, to produce a slim, 
girlish contour. 

12 a.m. Lola goes to the studio. 
Director tells her she has held the 
picture up all morning. She has a fit 
of artistic temperament. 

12.30 p.m. Lola lunches. Turtle 
soup, sole, braised steak and mushrooms, 
and two sundaes. 

4.0 p.m. Tea. Three cups and four 
cream pastries. 

6.0 p.m. Leaves studio, unless the 
director wants to shoot night scenes, 
when she usually has another fit of 
artistic temperament. 

7.0 p.m. Goes out to dinner with a 
male acquaintance. Eats well. 

I forgot to mention thait she 
occasionally spends an afternoon (with 
her Press Photographer) at the 
Cripples' Home or other deserving 
institution. She generally presents the 
inmates with signed photos of herself. 



JANUARY 1925 



Picture s and Picture Over 



63 




sound as a bell 

I " A Merry Christmas and a Happy New \ear" chime the bells, 
and with their cheery peal they invite in you the joy of living. 
But across the lives of many there is a shadow — that of 
digestive misery. It warps the lives of its numerous 
victims and distorts the merry peal of the bells into a 
harsh discordant clangour. So, if this season finds 
you depressed, apprehensive and run-down, you should 

ask yourself a question : " Is my digestion in good order ? " Digestive troubles, 
like gastritis, dyspepsia and indigestion, mean untold misery 
they cause headaches, insomnia, lethaigy; they induce complexion blemishes 
and make you look old before your time. The remedy is Bisurated Magnesia, 
which doctors prescribe and hospitals use. You may take Bisurated Magnesia, 
safe in the knowledge that it is positively the finest known cure for digestive 
disturbances. Get a is. 3d. package, powder or tablets, from your chemist to- 
day ; try it and note the improvement in your health and spirits — see bow much 
better you eat — how much easier you get up of a morning ; how clear your com- 
plexion becomes ! A digestion ' sound as a bell ' is invariably 

the result of taking BisumteiUiagnes'm 




A Marcel Curl sets 
the heart in a whirl. 

A Permanent Wave 1 
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the popular American Screen Actress, who 
starred in the British photo-play, " Fires of 
Fate," says : — 

" Between you and me, I'm reckoned 
a pretty sound judge of candies, and 
let me say right here that in my 
opinion Maison Lyons Chocolates 
are just perfect. Pure and refined — 
/ should say I And their ' infinite 
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IT isn't wise nowadays merely to ask 
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"Maison Lyons Chocolates' and make 
sure. Lyons' Chocolates are famous 
for their unvarying quality and wide 
assortment. Whether bought loose 
by weight, or in fancy boxes, there is 
nothing better to be had. Make it 
a habit when visiting the Kinema 
or Theatre to ask for — 




Sold at the leading Kintmas, Thtotra, and Confectioner) throughout 
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per lb. 



64 



Pictures and Pict\jreOuer 




Percy Marmont in " The Shooting of Dan McGrew. 



TO BETTY BALFOUR. 

(With apologies). 

My heart leaps up when I behold 
My idol's image nigh, 
So was it when I saw her first, 
And still to see her do I thirst, 
So be it when I shall grow old 
Or let me die. 

The star in this case makes the film, 
And I could wish my days to be 
In perfect bljss spent, watching thee. 
H. C. M. (Scotland). 

CAN ANYONE REMEMBER? 

Can anyone remember 
When movies were a myth, 
When Fairbanks was a boy, 
And Mary, Gladys Smith? 

When on a toy piano, 
Little Ivor used to play, 
When Rudy lived in Italy, 
E'er " Sheiks " had come to stay. 

Before Tom Mix and Tony 
Were known the wide world o'er, 
Before the first film kiss was " shot " 
On the first studio floor. 

When Bathing Beauties were nan est 
When Buster sometimes smiled, 
Before we knew what slapstick meant — 
When Charlie was a child. 

When Mae was dressed in pinneys, 
And Gloria wore short frocks, 
When Owen had no hair to wave, 
And Ramon wore pink socks? 

Can anyone remember 
Those days so long ago? 

Mary (Nottingham). 

LOIS. 

I pay my homage to one star. 
The movies' purest pearl, 
All others she outshines by far, 
" The Covered Wagon " girl f 

E. M. F. (Letchworth). 



SHADOWS. 

Shadows upon a screen are you, yet we 
Watch your adventures keenly, breath- 
lessly, 
Believing in their tense reality. 

Men of our dreams, grave, gallant, 

valiant, true, 
Knights of old days and knights of this 

age too, 
Within our hearts romance and hope 

renew. 

Passions that we may never hope to 

know, 
Across your lives swiftly come and 

swiftly go, 
Hatred and vengeance, laughter, love 

and woe. 

Shadows upon a screen are you, yet we, 
Cheered by your laughter, touched by 

tragedy, 
Give thanks to you for your gay 
pageantry. 

M. A. (Eastbourne). 

TRUE TO TWO. 

In all the carols I have read 

The writers all are true 

To one fair star who holds their hearts 

They never run to tivo ! 

I fear I'm not content with one : 
I love a lady fair 

With sweet grey eyes, a tender mouth 
And softly waving hair. 

The other lady I adore 

Has eyes of deepest brown, 

And dark curls clustered o'er her head 

And gaily tumbling down. 

I'm loving Norma Talmadge and 
I'm loving Agnes Ayres, 
Long may they reign in happiness 
.^nd long be free from cares! 

Marjorie (London). 



JANUARY 1925 
PULLING PICTURES TO PIECES 

[This is your department of Picturegoer 
In it we deal each month with ridiculous 
incidents in current film releases. Entries 
must be made on postcards, and each 
reader must have his or her attempt 
xt.'itnessed by two other readers. 2/0 
will be awarded to the sender of each 
" Fault " published in the Picttregoer. 
Address : " Faults," the Pictlregoer, 
93, Long Acre, IV.C.2]. 

Did They Follow Him Round? 

Warwick Ward, in Southern Love is 
sketching by the side of a pond. He 
sees " Dolores " (Betty Blythe) danc- 
ing on the other side, and walks round 
to her. After a lew minutes' conversa- 
tion, he persuades her to pose for him 
while he sketches her. His sketching 
materials are ready to his hand, and yet 
he had plainly walked round to 
" Dolores " empty-handed. Did they 
swim across the pond to him, or walk 
round? 

M. K. (Salisbury). 

Speeding Things Up. 

In one of the new series of Dr. Fu 
Manchu entitled The Green Mist, " Dr. 
Fu Manchu's " messenger takes a parcel 
to " Nayland Smith " in broad daylight, 
but when he gets indoors the Minds are 
down and the lights on. Surely it didn't 
get dark while he was crossing the 
threshold. 

M. C. H. (St. Neots). 

Open Sesame. 

In The Fighting Blade, when Richard 
Barthelmess is thrown into a dungeon, 
the doors and the iron gate without, are 
all securely locked. Yet when Charles 
appears, he merely pushes the gate with 
his hand and it opens. 

M. H. (Brighton). 



Daylight Saving. 

When the escape leaves the station 
for Dr. Rutherford's house, in The 
Third Alarm, it is broad daylight. But 
by the time it arrives at the fire it is 
apparently night. Was the daylight 
put out to show up the fire? 

K. R. S. (Tufnell Park). 

An Accommodating Storm. 

In The Marriqgt J'otc, " Bob " hears 
a noise in the next room. He takes his 
revolver, walks on the verandah, while 
it is pouring with rain, and the lightning 
is flashing. He walks about a yard 
forward and the rain and storm have 
ceased as though by magic, but on 
reaching the next room it is raging as 
violently as ever. I suppose it w;is 
stopped just then in case he should get 
wet ! H. W (Dalston). 

Another Rope Trick. 

In La7v of the Lawless Dorothy Dal- 
ton has her wrists and ankles bound by 
" Costa." They are standing on the 
ground while he does this, yet when he 
lifts her on to his horse she is able to 
sit astride. How coula she do this with 
her ankles tied? 

M. S. (Wallasey). 



JANUARY 1925 

tnannnn 



Picture s and Picture puer 



65 




FINSBURY PARK RINK 
CINEMA Finsbury Park 

GRANGE CINEMA Kilbum 

GLOBE CINEMA Acton 

BROADWAY PALLADIUM 

Ealing 

CORONET THEATRE 

Notting Hill 

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Sydenham 



ILFORD SUPER CINEMA Ilford 

CANADIAN CINEMA (Tottenham 
Palace) Tottenham 

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HOUSE Maida Vale 

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66 



Picture s and Picture poer 



JANUARY 1925 



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Art Acord 
Ben Alexander 
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Agnes Ayres (2) 
Betty Balfour 
Nigel Barrie (2) 
Wesley Barry 
John Barrytnore 
Richard 

Barthelmess (2) 
Warner Baxter 
Hilda Bayley 
Wallace Beery 
Madge Bellamy 
Edna Best 
Constance Binney 
Monte Blue 
Betty Blythe 
Eleanor Boardman 
John Bowers 
Flora Le Breton 
Clive Brook (2) 
Mae Busch 
Georges Carpentier 
Lon Chaney 
Ethel Clayton 
Lew Cody 
Jose Collins 
Betty Compson (3) 
Fay Compton 
Jackie Coogan (2) 
Gladys Cooper 
Dorothy Dalton 
Viola Dana 
Bebe Daniels (2) 
Marion Davies 
Mildred Davis 
Marjorie Daw 
Priscilla Dean 
Reginald Denny 
William Desmond 
Richard Dix 
Ivy Duke (2) 
William Duncan 
Josephine Earle 
Douglas Fairbanks 
Dustin Farnum 
Elsie Ferguson 
Harrison Ford 
Hoot Gibson 
John Gilbert 
Dorothy Gish 
Lillian Gish 
Gaston Glass (2) 
Corinne Griffith (2) 
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Elaine Hammerstein 
Hope Hampton 
Kenneth Harlan 
Wandi Hawley 
Jack Holt 
Violet Honson 
Jack Hoxie 
Lloyd Hughes 
Marjorie Hume 
Charles Hutchison 
Rex Ingram 
Edith Johnson 
Justine Johnstone 
Buck Jones 
Leatrice Joy (2) 
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Buster Keaton 
T. Warren Kerrigan 
Norman Kerry 
James Kirkwood 
Theodore Kosloff 
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Cullen Landis 
M.Ttheson Lang (2) 
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Elmo Lincoln 
Harold Lloyd 
Bert Lytell 

Figures after names denote 



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May McAvoy 
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Dorothy MacKail 
Percy Marmont 
Barbara La Marr (2) 
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Shirley Mason 
Frank Mayo 
Thomas Meighan 
Adolpe Menjou 
Patsy Ruth Miller 
Tom Mix 
Colleen Moore 
Tom Moore 
Antonio Moreno 
Marguerite De La 

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Jack Mulhall 
Mae Murray 
Carmel Myers 
Conrad Nagel (2) 
Nita Naldi 
Owen Nares 
Pola Negri (2) 
Guy Newall 
Anna Q Nilsson 
Jane and Eva Novak 
Ramon Novarro (4) 
Ivor Novello (4) 
Eugene O'Brien 
Mary Odette 
Pat O'Malley 
Baby Peggy 
Eileen Percy 
House Peters (2) 
Mary Philbin 
Mary Pickford 
Eddie Polo 
Marie Prevost 
Edna Purviance 
Jobyna Ralston 
Herbert Rawlinson 
Irene Rich 
Theodore Roherts 
George Robey 
Charles de Roche 
Rod la Rocque 
Ruth Roland 
Stewart Rome 
William Russell 
Joseph Schildkraut 
Gregory Scott 
Milton Sills 
Anita Stewart 
Lewis Stone 
Eric Von Stroheim 
John Stuart 
Madge Stuart 
Gloria Swanson 
Blanche Sweet 
Constance Talmadge 
Norma Talmadge (3) 
Richard Talmadge 
Conway Tearle 
Alice Terry (4) 
Phyllis Neilson 

Terry 
Queenie Thomas 
Ernest Torrence 
Rudolph Valen- 
tino (6) 
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George Walsh 
Bryant Washburn 
Niles Welch 
Pearl White 
Earle Williams 
Lois Wilson 
Claire Windsor 

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P. Jan. 



JANUARY 1925 



Pictxjre s and Pichjre Over 



67 




MEW York and Milton Sills have 
taken very kindly to each other. 
Milt went there to film Interpreter's 
House, and is staying to make The 
Making of O'Malley, the story of a 
New York policeman. Milt says his 
garden at home will go to rack and 
ruin but business is business. Mrs. 
Milt said a whole lot besides that. 



June Mathis, who was specially en- 
gaged to do the script of Rudy 
Valentino's new story The Scarlet 
Power, has resigned and is going to 
prepare the scenario of Sally for Col- 
leen Moore instead. The Scarlet 
Power was written by Natacha Ram- 
bova Valentino, under the pseudonym 
of " Justres Layne," and the authoress 
and the scenarist disagreed upon the 
development. The script went to June 
Mathis for final revision and adaptation 
and during the course of this a dis- 
agreement occurred, and June Mathis 
retired. 

Detty Blythe's next will be Folly of 
*-* Vanity, a Fox special which 
Maurice Elvey will direct. Betty 
scored her first bulls eye at Fox's in 
The Queen of Sheba. 

l_Jenry Edwards and Chrissie White 
shot many scenes for The Man 
Worth a Million Pounds between stage 
appearances in " The Man Who Came 
Home." The film is an ambitious one 
and Edwards thinks it will take quite 



a year to complete. Both players find 
a hearty welcome wherever they appear 
" in the bulk," as Henry Edwards ex- 
pressed it in a speech one evening. 
Their play, which was filmed under the 
title of The Bargain is good melo- 
drama, and Henry Vibert, who has 
shared so many of this, clever couple's 
screen successes, comes in for a goodly 
portion of applause in the play. They 
have an excellent villain, too, in the 
person of Wilfrid Carthness. 

[ ewis Stone and Alice Terry are to 
share leading honours in Kings in 
Exile, which Seastrom is directing. 
Sounds like a second Zenda, only 
better, all things considered. 

LJelene Chadwick had a beautiful 
Christmas gift sent to her in the 
shape of a huge vase. Whilst her 
furniture, etc., was being arranged in 
her ltew Beverly Hills home, the vase 
fell from its pedestal, and as it was a 
big one, inflicted a painful injury on 
Helene's foot. Of course it got into 
the papers, and evidently caught the 
donor's eye, for she received a large 
bundle from him containing a crutch, 
and the words : " Just learned what my 
gift did to your foot. Accept my regrets 
and this crutch," 

\Torma Talmadge, Joseph Schenk, 
* Lola Bara (Theda's sister), Sidney 
Franklin and Hiram Abrams are in 
Europe and will not be back home in 
Hollywood again for three months. 



' | lie screen has lost one ot its hardiest 
villains. For Alan Hale has 
decided to leave acting alone for a while 
and is going to direct Shirley Mason in 
The Scarlet Honeymoon. 

[ ila Lee is back at Paramount studios 
again, opposite Tom Meighan in 
Coming Through. 

YY/e've heard a whole lot about stars 
and their good-luck bringers of 
late. Leon Errol, who plays the "Duke 
of Checkergivinia" in Sally (he created 
the role on the stage also) has one in 
the shape of a pair of shoes. They arc 
old and disreputable, 'almost on a par 
with a pair of Chaplins, but Errol wore 
them in the first role which brought 
him to his manager's notice. He got a 
larger part and wore the shoes the first 
time he played it. The role of the 
waiter in " Sally " was the third first 
night on which he'd worn them. So 
.he brought them to Hollywood and is 
hoping they will bring him another film 
engagement. 

/^"odfrey Tcarle just hates publicity. 
^"* That is why very little noise has 
been made over the fact that he has 
made a film for Paramount under 
Sidney Olcott's direction. It is an 
East Side story Salome of the Tene- 
ments by the authoress of Hungry 
Hearts, and Godfrey plays the role of 
" Manning," the English millionaire. 
Jetta Goudal is his leading lady. We're 
strong for Godfrey as both stage and 
screen actor. 



68 



Picture s and Pichure puer 



JANUARY 1925 




The cover depicts a dramatic incident 
from " Jack O'Natxnby," a thrilling 
story of the Great Cay Road. 

Inside this Number 




PAGES 



OF 



Photogravure 

Art Souvenirs from The 
Pelican, The First Kiss, 
and Christmas Cabarets, 
are contained in this 
beautiful supplement to 
the January P™»nnce. 



rpHE same number 
■*■ also includes twelve 
fascinating stories of 
love and romantic ad- 
venture by Mrs. Baillie 
Reynolds, Will Scott, 
Paula Duresque, Ian 
Hope, and other popu- 
lar authors. Take home 
a copy of this delightful 
magazine to-day. 



The January 

Romance 

NINEPENCE. 




Some Britishers abroad. Left to right : Milba Lloyd (Mrs. G. K. Arinur), M' s - 
Clive Brook and daughter, " Kipps," Evelyn Brent, and Clive Brook snapped .«« 

Ince studios. 



Everyone in Hollywood agrees that 
Colleen Moore's impersonation of 
the aged " Selina Peake " in So Big 
was the best thing the little star had 
ever done. " Especially," remarked one 
of her friends, " that bit where you 
laboriously cross the room to your 
chair." Colleen just smiled and after 
a bit, with characteristic frankness 
replied : •" Well that bit wasn't Art, it 
was Nature. You see I'd had my first 
riding lesson the previous day and so 
..." If you've ever done likewise, 
you'll see Colleen's point. 

A hce Joyce seems to have definitely 
*^ returned to the screen, for she is 
scheduled for nearly a year's work. 
Her first film is A Man's World, with 
Percy. Marmont, Helena D'Algy and 
Ford Sterling also in the cast. 

Llouse Peters, too, is well in :ne spot- 
** light, for besides The Tornado, 
which has already been trade shown 
this side he is making Raffles, and 
several other stories for Universal. 

pfty stars adopted a novel method of 
raising money for the Near East 
Relief Fund. On a certain day, they 
all lunched at United Studios on stew. 
black bread, stewed peaches and hot 
chocolate, and gave the difference be- 
tween the eight cents this magnificent 
repast cost and the amount of their 
usual lunch-cheque to the fund. 
Dorothy Mackaill, Pat O'Malley. 
Louise Glaum, John Bowers, and Mar- 
guerite De La Motte had their own 
table and cracked so many jokes that 
they almost forgot to eat. 

John Gilbert is the " Prince Danilo " 
of Stroheim's Merry Widmi' film, 
with Mae Murray as " Sonia," and 
Tully Marshall and Josephine Crowell 
in support. 



Noah Beery is a happy man these 
days for he has won his first 
film fight for sixteen years. 
" Ever since 1 went in for 
' heavies,' " he complains, " I have been 
a human shock absorber. Heroes by 
the dozen have knocked me out in the 
last reel. I think every leading man 
on the screen has punched my jaw at 
one time or another. But in Contra- 
band, I got a bit of my own back and 
after seven hours filming I beat Ray 
McKee and put him to sleep for a few 
minutes." Noah, who is six foot one, 
and correspondingly brawny, is one of 
the best hated villains in movieland. 

TWfarguerite de la Motte has received 
"' a whole lot of dancing shoes fron 
Anna Pavlova, the famous Russian 
Ballerina. Marguerite and Pavlova 
both patronise the same shoemaker, who 
has strict orders from the dainty little 
film star to always include some "broken 
in " ones of Pavlova's with the new 
ones. Marguerite used to be one of 
Pavlova's troupe before she went on 
the screen, and she has never forgotten 
it. 

T loyd Hughes is devoting all his spare 
" time to clog dancing of the variety 
known as " race-track-leg-shakirig." 
He is playing " the Dancin' Kid " in 
Dixie, and naturally has to live up to 
it. His favourite instructors are two 
darkies who are ardent followers of 
the " Sport of Kings " in Kentucky. 

George Carosella, an animal tamer of 
the Zelig zoo had a terrifying 
experience the other day. " Queenie,'' 
a lioness, suddenly turned on him and 
caught his head between her jaws. She 
had been suffering from toothache, and 
it doubtless affected her temper, but 
Carosella had to fight her off with a 
pitchfork and was badly lacerated 
about the face and head. 



JANUARY 1925 



Pictures and Pictx/repve^ 



69 



A propos of music and the movies 
*■ one of the finest kincma orchestras 
is Louis Levy's at the Shepherd's 
Bush Pavilion. It numhers twenty- 
five and their selection is one of the 
most popular items on the programme. 
This kinema boasts also of a magnifi- 
cent organ, which is broadcast 
regularly every week, and they have 
managed an extra special musical treat 
in connection with The Ten Command- 
ments, which is showing there this 
month. 

Duck Jones has just finjshed a film 

° entitled The Man Who Played 

Square. No, it isn't a Crossword 
Puzzle. 

/"* eorge O'Brien who made a promis- 
ing first appearance in The Man 
Who Came Back, is playing Sir Gerald 
Du Manner's role of " Tony " in the 
screen version of The Dancers, with 
Madge Bellamy opposite. 

"W/ith cooking nowadays raised to the 
** status of an art, special attention 
has to be paid to the brand of baking 
oowder used in the making of cakes 
and other dainties, and all good cooks 
must of necessity use Borwick's Baking 
Powder, which besides being the purest 
and best, is also the most economical 
means of raising the lightest pastry, 
cakes, puddings, etc., requiring not only 
less baking powder, but about half the 
usual quantities of butter, lard or drip- 
ping, with also a great saving in eggs. 
The result of using Borwick's Baking 
Powder, will be proven in the de- 
liciously flaky and nutricious com- 
estibles themselves — just try it. 

\Tazimova has finished work on The 
Redeeming Sin for Vitagraph and 
has commenced a new one titled My 
Son. 

petty Balfour's next feature Satan's 
Sister will be made partly in the 
West Indies. George Pearson and his 
players are getting ready to depart. 




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70 



Picture s and Picture poer 



JANUARY 1925 



■ . . , 



PicturegoeKS'Guide 




Theodore Roberts as "Moses" m" The Ten Commandments." 



Another Scandal (F. B. 0.; Jan 19). 

A rather highly-seasoned story of 
feminine wiles and masculine futility 
based .upon Cosmo Hamilton's novel of 
the same name. Excellent acting by Lois 
Wilson, Flora Le Breton, Hedda Hopper, 
Holmes E. Herbert, Ralph Bunker, Zeffie 
Tilbury, and Bigelow Cooper. Good 
triangle drama. 

The Call of the Wild (Pathe; Jan. 19). 

A faithful screen version of Jack 
London's well-known story of the gold 
rush days on the Yukon featuring "Buck," 
the dog star, Jack Mulhall and Walter 
Long. Excellent entertainment. 

The Cost of Beauty (Napoleon; Jan. 5). 
Strong fare concerning a deliberately 
childless wife and her subsequent redemp- 
tion and reformation. Well played by 
Betty Ross Clarke, Lewis Dayton, Tom 
Reynolds and James Lindsay. Morbid 
entertainment. 

Cyrano De Bergerac (Pathe; Jan. 5). 

A coloured film version of the well 
known drama of the "Three Musketeers" 
period produced by Auerusto Genina and 
playea by Pierre Regnier, Linda Moglia, 
A. Ferrari, U. Casilini and A. Bernard. 
Good romantic fare. 

The Dangerous Blonde (European; Jan. 
12). 
Excellent ^omedy romance about a hen- 
pecked husband who gets mixed up in a 
scandal because of some foolish letters 
he sent to an adventuress. Laura La 
Plante stars, supported by Edward 
Hearn, Arthur Hoyt, Philo McCullough, 
Eve Southern, Margaret Campbell, Dick 
Sutherland and Frederick Cole. 

Daughters of Pleasure (Rose; Jan. 26). 

Monte Blue, Marie Prevost, Clara 
Bow, Edith Chapman, and Wilfred Luca 
in a somewhat sentimental story about a 
girl who moulded her life upon the 
"Like father— like daughter" idea. Ex- 
cellent acting and photography. 

Decameron Nights (Graham Wilcox; 
Jan. 16). 
An interesting example of modern tech- 
nique in sets, lighting and photography, 



this screen version of the Boccacio Lrury 
Lane drama is Herbert Wilcox's best 
production to date. Continuity is weak, 
but acting by Werner Krauss, Ivy Duke, 
Randle Ayrton, Hanna Ralph, Xenia 
Desti, Lionel Barrymore, Bernhard 
Goetzhe, Albert Steinweck, George John 
and Jameson Thomas is good. Good 
romantic entertainment. 

The Desert Outlaw (Fox; Jan. 8). 

Buck Jones and Evelyn Brent in a 
strong and original adventure story of 
the western plains. 

Dorothy Vernon of Haddon Hall (Allied 
Artists; Jan. 12). 
Mary Pickford in a congenial role as 
the hot-tempered, mischievous, sixteenth- 
century heroine of Charles Major's 
romance. A sumptuously and faithfully- 



mounted period story in which the star is 
supported by Anders Randolf, Marc 
MacDermott, Mme. Daumery, Allen 
Forrest, Wilfrid Lucas, Claire Eames, 
Estelle Taylor, Lottie Pickford and 
Courteney Foote. Marshall Neilan 
directed. Excellent entertainment. 

Fair Week (Paramount; Jan 22). 

The answer to " Can a fat man be a 
hero?" in the person of Walter Hiers 
in a good circus comedy drama, with 
some remarkably good characters and 
types. Constance Wilson opposite, also 
Carmen Phillips, J. Farrell MacDonald, 
Robert Mack, Mary Jane Irving, Earl 
Metcalf and Knute Erickson. 

Flaming Barriers (Paramount; Jan. 2Jb). 
A strong romance of firefighters with 
a thrilling forest fire as its climax. 
Jacqueline Logan, Antonio Moreno, and 
Walter Hiers are the stars, and Charles 
Ogle, Robert McKim, Luke Cosgrove and 
Warren Rogers support Good, exciting, 
fare. 

The Gaiety Girl (European; Jan. 5). 

Mary Philbin in a picturesque if none- 
too-correct as to details film version of 
"The Inheritors," by J. A. R. Wylie. 
Joseph J. Dowling, William Haines, Otto 
Hoffman, James 0. Barrows, De Witt 
Jennings, Freeman S. Wood, Tom 
Ricketts and Grace Darmond also appear. 
Good entertainment. 

The Gay Corinthian (Butchers; Jan. 26). 
A typically British story not unlike 
M'Lord of the White Road with Victor 
McLaglen as its fighting hero. Good 
support from Betty Faire, Cameron Carr, 
Donald Macardle, George Turner, Jack 
Denton, Noel Arnott and Ex-Guardsman 
Penwill. Good costume romance. 

High Speed (European; Jan. 19). 

Fast action comedy drama about an 
athlete's hard fight to win the lady of his 
heart. Played by Herbert Rawlinson, 
Carmelita Geraghty, Bert Roach, Otto 
Hoffman, Percy Challenger, Jules Cowles, 
and J. Buckley Russell. Good entertain- 
ment. 

Maurice Elvey and Shirley Mason 
discussing a 
scenario. 




JANUARY 1925 



Pictures ?r\d Pichjrewer 



/"] 



iss Gladys tfenmngs 

the British film Juno, refreshes herself by taking 

a plunge between scenes being taken at Marlow last 

summer for the Gaumont film of Ian Hay's play 

" The Happy Ending." 





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72 



Pictures an d Picture poer 



JANUARY 1925 




Edna Murphj 
and Harold 
Miller in 
" Leather stocking ' 

Honour Among Men (fox; Jan. 5). 

Edmund Lowe in a romantic story of 
love and trickery in a small kingdom. 
Sheldon Lewis, Claire Adams, Diana 
Miller, Walter Wilkinson and Frank 
Leigh complete the cast. Good enter- 
tainment. 

The House of Youth (Jan. 19). 

A very modern jazz story which 
develops into drama dealing with the 
adventures of a girl who is out to enjoy 
life, but who is the victim of a scandal 
which nearly finishes her career. Jacque- 
line Logan stars, with Malcolm 
MacGregor, Vernon Steele, Gloria Grey, 
Richard Travers, Lucila Mendez, Edwin 
Booth Tilton, Hugh Metcalf and Barbara 
Tennan in support. 

In Fast Company (Unity; Jan. 19). 

Stunts, stunts, and again stunts by the 
indefatigable Dick Talmadge amid a 
curious conglomeration of cheap melo- 
drama, slapstick and exaggerated acting. 
Mildred Harris, Sheldon Lewis, Charles 
Clary and Snitz Edwards head the sup- 
porting cast. Fair entertainment. 

The Iron Man (European; Jan. 22). 

Lucian Albertini, Margaret Morris, 
Jean de Brax and Jack Dougherty in as 
breathless a serial as has ever been 
screened. About a girl's adventures in Paris 
and her pursuit by a wicked uncle. Not 
for the sophisticated fans. 

The Last of the Duanes (Fox; Jan. 12). 
A new kinematisation of Zane Grey's 
story with Tom Mix in Farnum's place. 
Eventful Western melodrama in which 
Tom and " Tony " achieve fresh laurels 
all the way. Marion Nixon, Brendsley 
Shaw, Frank Nelson, Lucy Beaumont, 
Jack Curtis and Harry Lonsdale comprise 
the cast. 

Leatherstocking (Pathe; Jan. 15). 

Harold Miller in a serial version of 
Fenimore Cooper's adventure stories of 
early days in the West. Good atmosphere, 
settings, and acting by the star Lillian 
Hall, Edna Murphy, James Pierce, David 
Dunbar, Aline Goodwin, Frank Lackteen, 
Ray Myers and " Whitehorse." 



The Lightning Rider (F. B. 0.; Jan. 12). 
A Mexican border melodrama, not new 
as to plot and incident but entertainingly 
developed and briskly handled. Harry 
Carey is featured, with Virginia Brown 
Faire, Thomas G. Lingham, Frances 
Ross, Leon Barry, Bert Hadley and 
Mdme. Sul-Te-Wan in support. 

The Love Nest (Phillips; Jan. 11). 

The adventures of a pair of newly-weds 
in search of a house starring Owen 
Moore, supported by Richard Travers, 
Jean Scott, Snitz Edwards, Marjorie 
Kelso, Kate Lester, Frank Campean, 
Charles Graham, Bernard Siegel, Robert 
Kenyon and Richard Lee. Light and 
very bright. 

The Love Story of David Copperfield 
(Phillips; Jan. 12). 
A Nordish production giving a brilliant 
impression of Dickens' novel. Incidental 
in character, but exceedingly interesting. 
Buddy Martin, G. Smith, Elsie Nielsen, 
Karina Bell, Karen Caspersen and 
R. Christiansen are the principal players. 

The Man Who Came Back (Fox; Jan. 
26). 
A vivid screen version of the popular 
play of the same name in which Dorothy 
Mackaill and George O'Brien star, sup- 
ported by Cyril Chadwick, Ralph Lewis, 
Harvery Clark, Edward Piel, David 
Kirby, and James Gordon. Melodramatic 
but effective. 

The Mating of Marcus {Stoll; Jan. 5). 

A slender story about a girl who will 
not desert her sister even for the man 
she loves. Dollie and Billie, the music 
hall duo are the stars, whilst David Haw- 
thorne, George Bellamy, Mdme. d'Estene, 
Gladys Hamer, W. G. Saunders and 
Moore Marriott lend adequate support. 
Fair entertainment. 

Mdlle. Midnight (Mctro-Goldwyn; Jan. 
12). 
Well told Mae Murray melodrama, 
ornately mounted and dressed and so full 
of action that its obvious and uninspired 
story escapes criticism. Clever character 
work by the star, Monte Blue, Robert 



McKim, Robert Edeson, Nick de Ruiz, 
Nigel de Brulier, Johnny Arthur, Otis 
Harlan and Evelyn Selbie. 

Miami (F. B. 0.; Jan. 5). 

Betty Compson in a sensational and 
rather crude melodrama written around 
the American " reckless set " and showing 
some fine views of the well known Florida 
seaside resort Lawford Davidson, 
J. Barney Sherry, Hedda Hopper, Lucy 
Fox, and Benjamin F. Finney, Jr. also 
appear. 

The Notorious Mrs. Carrick (Stoll; 
Jan. 12). 
" Disa," Peggy Lynn, Cameron Carr, 
and A. B. Imeson in a murder mystery 
drama in which long distance wireless 
vindicates the innocence of a girl accused 
of murder. Fair entertainment. 

Our Leading Citizen (Paramount; Jan. 
5). 
Tom Meighan in a George Ade story 
of American town politics and election 
manoeuvres in which the modest hero is 
aided in the achieving of his desires by 
many witty sub-titles. Lois Wilson, 
William P. Carleton, Theodore Roberts, 
Guy Oliver, James Neill, Lucien Little- 
field and Charles Ogle contribute capital 
character studies. A pleasing movie. 

The Royal Rivals (Springer; Jan. 26). 

A German-made historical drama of the 
days of Phillip II of Spain over em- 
phasised to such an extent that its effect 
is ruined. Conrad Veidt, Dagny Servaes, 
and Eugen Klopfer head a long cast Only- 
unsophisticated fans will enjoy this one. 

The Seventh Sheriff (Artistic; Jan. 8). 

Richard Hatton, Neva Gerber, Arthur 
Morrison, Charles Murphy and Martin 
Turner in a very ordinary Western 
drama about a hero who takes on all 
kinds of dangerous jobs. Fair entertain- 
ment. 

Shadows of. Paris (Paramount; Jan-. 12). 
Pola Negri in an underworld story of 
Paris during and after the war, directed 
by Herbert Brenon. Adolphe Menjou, 
Charles de Roche, Huntly Gordon, Rose 
Dione, Gareth Hughes, Vera Reynolds, 
Edward Kiplin and Maurice Cannon sup- 
port the star. Rather disappointing 
Apache drama. 

The Sign of the Rose (U'ardour; Jan. 
26). 
George Beban in a Christmassy story 
about an Italian, his daughter, and his 
long lost wife. Helen Sullivan, Jeanne 
Edmund Lowe and 
Claire Adam- ^ r - 
in 

"Honour 
Among 
Men" 




JANUARY 1925 




Pierre Rcijnicr as " Cyrano dc Bt'rycrac" 

Carpenter, Charles H. Kldcr, Gene 
Cameron, Louise Calmenti, Stanhope 
Wheatcroft, Dorothy Giraci and M. Solo- 
man comprise a good cast. Good, senti- 
mental drama. 

Singer Jim McKee (Paramount; Jan. 19). 
William S. Hart in a story by William 
. Hart. It concerns a self-sacrificing 
Westerner and contains some good thrills 
and climaxes and some melodramatic 
acting by the star. The cast includes 
Gordon Russell, Phyllis Haver, Bert 
Sprotte, Ruth Miller, Edward Coxen, 
William Dyer and George Siegrrtann. 

The Spitfire (IV. & P.; Jan. 19). 

The story of a society girl who earned 
her living on musical comedy stage show- 
ing, some interesting behind-the-scenes 
incidents and some lovely gowns. Betty 
Blythe. Pauline Garon, Robert Warwick. 
Lowell Sherman, Elliott Dexter and Ray 
Allen act well. Good entertainment. 

Surging Seas (Gaumont; Jan. 19). 

Charles Hutchison in a sensational 
drama of the high seas containing many 
thrilling water stunts and chases. Edith 
Thornton opposite, and George Hacka- 
thorne, David Torrence, Earl Metcalf, 
Charles Force and Pat Harmon. 

The Ten Commandments (Paramount; 
Jan. 5). 
A great entertainment produced by 
Cecil De Mille, with a fine spectacular 
biblical prologue emphasising an absorb- 
ing if melodramatic modern story. All 
star cast comprising Theodore Roberts, 
Charles De Roche, Estelle Taylor, Julia 
Faye, Terence Moore, James Neill, 
Lawson Butt, Clarence Burton, Noble 
Johnson, Edythe Chapman, Richard Dix, 
Rod La Rocque, Leatrice Jov, Nita Naldi, 
Robert Edeson, Charles Ogle and Agnes 
Ayres. Excellent entertainment, don't 
miss it. 

That French Lady (Fox; Jan. 19). 

Shirley Mason as a girl" with extra- 
ordinary views upon marriage, but who is 
ured of them by a mother's devotion 
and sacrifice. In the cast are also 
Theodore Von Eitz, Lucy Beaumont, 
Harold Goodwin, Kate Lester, and 
Charles Coleman. Contains one good 
opportunity for " Pulling Pictures to 
Pieces " experts. Good entertainment. 

Three Days to Live (Western Import; 
Jan. 1). 
A novelettish Oriental thriller about a 
wicked Rajah whose spell nearly ruined 
(Continued on page 74). 



Picture s and Pichure poer 



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75 




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Signature ... 

Address 

Date. 

(See pages 6 and 7.) 



74 



Pictures and PichjreWer 



JANUARY 1925 



the happiness of a pair of youthful lovers. 
Played bv Ora Carew, Jay Morley, 
George Webster, Dick la Reno, Hal 
Stephens and Helen Howell. Blatant 
mystery romance. 

Triumphant Youth (Phillips; Jan. 26). 

A love-romance of the Western plains 
starring Alleyne Ray as a young society 
girl who " makes good " on a wild and 
woolly Texas ranch. Mildred Bright, 
J. W. Johnston and Robert Frazer head 
the supporting cast. 

The Turmoil (European; Jan. 26). 

Domestic drama about a self made man 
who tried to mould his family to his own 
pattern and what happened when his 
children rebelled. An effective dam- 
burst provides a thrill, and the acting is 
unusually good. Emmett Corrigan, 
George Hackathorne and Eleanor Board- 
man are featured, and are capably sup- 
ported by Winter Hall, Theodore Von 
Eltz, Edward Hearn, Pauline Garon, 
Eileen Percy, and Victory Bateman. 
Good entertainment. 

The Way of a Man (Pathe; Jan. 12). 

A super-adventure serial of early 
Western pioneering days by the author of 
Hie Covered Wagon. The players are 
Alleyne Ray, Harold Miller, Florence Lee, 
Bud Osborne, Kathryn Appleton, "White- 
horse." Lillian Gale, Chet Ryan and 
Lillian Adrian. We recommend this one. 

Western Firebrands (Ducal; Jan. 5). 

Big Boy Williams in a timber-land 
story containing some thrilling stunts and 
a romance. J. Conrad Needham, Bill 
Home, Virginia Adair, Jack Pitcairn and 
Bert Apling support the star. 

The Wine of Youth (Jury-Metro-Gold- 
li'yn ; Jan. 26). 
Adapted from Rachel Crother's play 
" Mary the Third *' this flapper picture is 
conventional in development but quite 
good comedy-drama about an adventurous 
girl. The cast includes Eleanor Board- 
man, Pauline Garon, William Haines, Ben 
Lyon, William Collier Jnr., Robert 
Agnew, Eulalie Jensen, E. J. Ratcliffe and 
Gertrude Claire. 




Laurette 
Taylor. 

Women and Diamonds (Ducal; Jan. 12). 
An Anglo-African tale of revenge and 
a murder mystery with good South 
African settings, acting, and action. 
Victor Maclagen and Madge Stuart head 
the cast which also includes Florence 
Turner, Norma Whalley, M. E. Wetherell, 
Cecil du Gue, Walter Tennyson and Sir 
Simeon Stuart. 

Wolves of the Night (Fox Re-issue; 
Jan. 29). 
William Farnum in a gripping drama 
about a miner's plucky fight against human 
wolves of finance. Louise Lovely 
opposite the star, also Charles Clary, Irene 
Rich, Lamar Johnston, G. Raymond Nye, 
and Al Famont. Good of its class. 

Venus of the South Seas (Pioneer; Jan. 
1). 
New Zealand's first production featur- 
ing Annette Kellerman in a story of pearl 
fishing containing some fine under-water 
scenes in which the star and some Maori 
divers appear. Nolan Purdie, Robert 
Ramsay and Norman French have the 
chief supporting roles. Novel entertain- 
'ment. 



Maria Jacobini in the dual roles of 

" Katja" and " Yamile" in 

" Daughters of the 

Desert" 




TEMPESTS & TRAGEDIES 

(Continued from page 15). 

prerogatives of the Storm Injerventive 
by killing off villains at critica. 
moments, but it does not confine its 
activities wholly to this pastime. 

Is a man already engaged to a girl 
when he meets the 'only woman'? 
Then enter the Storm Eliminative. 
Fire, water or wind obligingly kill off 
the poor girl and the poor girl 
obligingly tells the man to marry the 
' only woman ' before her death. But 
it is surprising how much killing off 
some of these frail heroines require. 

In Lucrctia I^ombard, Monte Blue, 
engaged to Norma Shearer, wanted to 
marry Irene Rich. Well, it took a 
forest fire, prowling of terror-stricken 
wild animals and a burst dam before 
Norma gave up the ghost, while Irene 
Rich who had gone through just as 
much, survived to marry the hero. 

Sometimes, of course, accidents will 
happen and I for one, have hardly 
recovered from seeing the hero of The 
White Sister dead at the end of the 
film. Ronald Coleman, who plays this 
gentleman, is drowned during an 
eruption of Vesuvius. Drowned during 
an eruption ! Ye gods ! It reminded me 
of the gallant soldier who went through 
the war unscathed and after demobili- 
sation went and broke his leg by 
stepping on an orange peel. 

Dut whatever the method the fact re- 
mained that he was killed by Nature 
before the end of the film, while a 
villain like Alan Hale in The Covered 
Wagon, after being buried almost to 
his neck in a quagmire survives that 
and is shot like any ordinary villain. 

In Floii'ing Gold it took thunder and 
lightning, a cloud-burst, and burning- 
oil to bring Anna Q. Nilsson to the 
arms of Milton Sills and even then the 
latter had to be half-stunned before he 
discovered how he loved her. 

The Storm Retributive shows to 
advantage in The Ten Commandments. 
Rod la Rocque having broken all the 
commandments at least once each, flees 
from justice in an open motor boat on 
a raging sea. Of course, his fate is a 
foregone conclusion, he is dashed 
against a cliff and — most excellent 
touch — his body is seen in the calm of 
next day floating in the water and 
across his chest is the spar on which 
is painted the name of his boat, and the 
name of his boat is ' Defiance.' 

Perhaps the most popular is the 
Storm Dramatic. The heroine escapes 
from the clutches of the villain into the 
raging night. " more gentle and more 
kind than he." witness To Have and To 
Hold, The Spoilers, etcetera, etcetera. 
It hasn't many variations but we've all 
seen it. Does the action flag? Let's 
have a storm. Have we some thousand 
odd dollars to spend? Let's have a 
storm. Do the public want a knock- 
out natural spectacle? Let's have a 
storm. And lo ! there is a storm. 

William B. Tirner. 



JANUARY 1925 



Pictures and Picf\jre$uer 



75 




jV^OST movie fans aspire to a home projector of their own 

but are compelled to forego themselves this pleasure because 

of the expense involved. This expense can be curtailed if you 

follow the practical hints given by the writer of this article. A 

toy cinema need not necessarily be treated as a toy. 



»t would be very nice to be able to 
show real moving pictures at home 
during the long winter evenings. 
As a matter of fact home kinemato- 
graphs are on the market, but most of 
them suffer from the rather serious 
omplaint of being distinctly expensive, 
hough old " junk " kinematograph film 
an be bought cheaply enough. As 
most of us know by this time the film 
from which kinematograph pictures are 
shown contains sixteen little pictures 
placed end to end in each foot of its 
ength, and the rate at which the film 
goes through the machine is about one 
foot a second. This means that six- 
teen times a second the film has to stop 
travelling for a brief instant while the 
mechanism uncovers the lens and 
covers it again. 

Common sense tells us that a 
nachine which will do this in a 
reliable way must cost some 
pounds. But those astute folk, the 
Germans, have succeeded in making 
toy machines which show moving 
pictures after a fashion. These only 
cost a few shillings, and with reason- 
ble luck one can be got hold of which 
will give a considerable amount of 
amusement before it caves in. 

A recent and well-meaning article in a 
certain Sunday Newspaper gave hints 
>n how a toy projector of moving pic- 
ures might be made to take long spools 
)f film and show a six foot picture, 
ising for illuminant a gas jet burning 
nside an unventilated biscuit tin. In 
writing that, the author's wish was 
doubtless father to the thought. Yet 
rertain of his suggestions were quite to 
he point. It is a fact that a good lens 
n kinematography is more than half 
he battle. At the expense of being 



" low " as the old-time critic would 
have said, no more likely place exists 
wherein to get hold of a disused motion 
picture projection lens cheaply than the 
humble but handy pawn-shop. Often 
a stealthy glance into the window will 
disclose a dusty tray of lenses among 
which, our luck still being good, a two 
or three inch cine projection lens may 
be found. Unless the lens bears the 
name of a well-known British optician 
(a most unlikely thing), the purchaser 
should bear in mind that its probable 
original value was anywhere between 
seven and ten shillings, so that a 
" couple of bob " at most should suffice 
to secure it. 

' I He way to fit it to a toy kinemato- 
graph, in place of the toy lens, 
will depend upon the design of the 
machine itself. In general, the original 
toy lens and its sliding mount should 
be removed and a light tin tube soldered 
in place into which the new and more 
important lens may slide, focussing 
being done by pushing it farther or 
drawing it less far in or out before the 
opening where the film passes through 
the projector " gate trap." 

Now about the illuminant. I do 
beseech you not to try the gas burner 
inside the unventilated biscuit tin. In 
the first place it won't burn properly. 
In the next place it probably will burn 
sufficiently well to make the tin so hot 
that as soon as an end of film touches 
it by accident there will be a blaze and 
a general conflagration. And then we 
shall be having to offer a prize for the 
best solution of the problem " Where 
used the house to stand?" For safety 
we should stick to electric light for our 
projection experiments. Either a small 
gas-filled focus lamp may be used, run- 



ning through ;i resistance "it 'he house 

mains, li MFC arc rich Slid lucky enough 

to be able to arrange it, or fading this 

we must Imi row tin- accumulator off 

somebody's car, or motor bike, or wire- 
less set, and use the current to light 

LI tilled DlOtOr headlight hull) of a 

voltage the same as the accumulator 

and of as high a candle jxjwer as we 
can conveniently get The strongest of 
these motor headlight bulbs take four 
amperes at twelve volts, give one hun- 
dred candle power, and will keep alight 
for many hours together when run off 
two " Kord " accumulators connected 
in series, which means that the red 
terminal of one accumulator is con- 
nected to the black terminal of the next 
cell with a short length of insulated 
electric light wire. 

Co long as a fairly cool light, such as 
the enclosed electric bulb is used, 
and nothing of the nature of a naked 
flame, almost any reasonably light-tight 
and fire-resisting material will do to 
take the place of the trumpery tin 
magic lantern portion of a toy kinema- 
tograph. Since wireless is in fashion, 
and has already once been mentioned. 
I might suggest that an excellent light 
proof container for the electric bulb 
would be one of the compressed fibre 
tubes sold for winding inductance coils 
upon. They only cost a few pence 
each. Fit the lamp holder upon a 
round wood block which can be slid 
back and forward inside the tube, and 
mount the condenser of the kinemato- 
graph at the other end of it. 

Finally, do not attempt to run longer 
film lengths than two hundred feet at 
most at a time on a toy machine, and 
be sure to let the film coming from the 
gate-trap fall into a fireproof metal 
container, and not on to the floor. A 
large zinc bath will be much better 
than nothing, a sanitarv milking pail 
best of all. 

Generally home displays with magic 
lanterns or small kinema machines fad 
to do themselves the justice they might 
because of scattered light coming out 
into the room. A very little general 
light will " bleach " a picture of the 
screen and make it look grey and unin- 
teresting. When you go to a regular 
kinema, if it is nicely arranged (as not 
all of them are) you find a comfortable 
amount of coloured, yellow or red, light 
where the seating is placed but so 
shaded that practically none of it gets 
to the screen, and the same thing 
should be aimed at by anyone giving a 
picture entertainment at home. If you 
arc only quite a few in the room it will 
be all right to turn the general lighting 
right out. If a party is in progress it 
will be safer to have some small lights 
such as night lights placed in the end 
of the room farthest from the screen 
and with shades so placed in front of 
them as to cut off from the screen any 
direct light from them. Failing any- 
thing more elaborate a large book can 
be stood on end before each night light. 



76 



Pictures and Pichuretyver 



JAN LAP 7 1925 



MY TRIP ABROAD 

(Continued from page 22). 

For, once again, I had crossed a 
frontier. A frontier of a different kind, 
but a frontier just the same. A frontier 
of human emotion. A frontier of a 
suspended relationship. 

There is something about the ties of 
early childhood that pull at the strings 
of the heart as no later relationships 
have the power of doing. For it is not 
only the person, but the whole setting 
of old, familiar days that arises to con- 
, front one. , 

I saw not only my dear sister, Maria, 
but all of our childish s*renes together, 
pranks and larks, quarrels and makings- 
up. 

""There had once been four of us chil- 
dren in my father's house; but it 
was with Maria that I conspired and 
connived, got into and out of mischief, 
and generally conferred with on all of 
our little enterprises. 

In those few moments with Maria, 
we kept up a constant battery of " Do 
you remember this?" and " Oh, do you 
remember that?" Now and then the 
equally ready tears would come, be- 
cause of a memory shared in madness. 

Since my mother passed away, Maria 
has gone through a lot of suffering 
She was left quite alone at my mother's 
death. My brother is married and 
living quite a distance from her and 
suoh relatives as we have in Italy are 
distant connections and not especially 
congenial with Maria. 

Of course, she asked me all kinds of 
questions about my work, and I told 
again the story of my arrival in 
America, the days of starvation and 
discouragement, the beginnings that 
seemed to get nowhere, the final land- 
ing upon my feet. She wanted to 
know all about how pictures are made, 
about the other stars, the directors, 
the studios. She wanted to hear all 
about Tune Mathis and the part she 



had played and played so definitely in 
my " discovery," and then told me that 
she had never seen a picture of mine, 
but had gained all her knowledge of 
my activities through the fan maga- 
zines and newspapers I had sent her, 
and from my letters. She intimated 
that she got most of her knowledge 
from the magazines and papers. Like 
most of my sex, I am, I suppose, 
neither a very frequent nor a very 
prolific letter writer. 

HPhe third day we were in Milan, I 
■*■ arranged to have my sister see 
The Four Horsemen. I asked an 
official connected with the industry to 
have a copy of the film shown her, and 
through his courtesy it was run for 
her. But the projection room had no 
light, and the picture was so badly cut 
that my aunt, who was with us, said 
she was glad that she had seen it in 
Rome. 

But my sister, none too critical, of 
course, was enchanted. She had, she 
naively informed me, no idea that I 
was " as good as that !" 

I felt that after all the years I had 
struggled to win from her that look of 
admiration and respect, The Four 
Horsemen had finally done the trick 
for me, where my early smoking and 
other feats had dismally failed. . . 

We have had three days of Milan. 
And we have gone about and have seen 
as much as we could see. We didn't 
attempt to do a very great deal in the 
town. Milan would take the most 
casual tourist at least a month. The 
same as Florence and Rome. 

But we did see the surrounding 
country. Motoring, of course. Which 
is the only way to see a country. 

We have enjoyed Milan. Of course 
/ enjoyed it because it held my sister 
for me. And Natacha got a fair 
amount of rest. I tinkered with the 
car and we took marvellous rides, and 
to-morrow we start on our way again. 
(Another long instalment ne.vt month.) 




Valentino in 
his car on the 
way to the studios 



DOROTHY VERNON 
OF HADDON HALL 

(Continued from page 38). 

Dorothy. " I have loved you, 
I do believe, since the first time 
I saw you — but hide ! Someone comes !" 

When the guard burst into the room 
four feet, and two of them a man's, 
were seen peeping out from under her 
dress. The guard dragged her away 
and Sif John sprang to his feet, 
flung back a window and escaped. 

" Well, he has gone," said the captain 
of the guard, " but she remains. Her 
Majesty will be informed of this, my 
lady. We will see what she has to say." 

And it transpired that Elizabeth had 
very little to say. But it resulted in 
Dorothy being cast into the cells. 

At moonrise there was a noise like 
rats at the grating of the dungeon of 
Haddon Hall. But it was not rats, 
but more like magic. For there stood 
Sir John Manners. 

" Come," he said, " there is no time 
to be lost. The guard have heard me 
and are coming by that other door. 
In an hour the Queen dies. Warn her." 

Dorothy made her way by strange 
secret passages into the bedroom 
of the Queen, who sat up startled. 

"Your Majesty!" cried Dorothy. "I 
come once more to crave your ear." 

"Silence, traitor!" said the Queen. 
There came a furtive scraping on the 
door, and Dorothy's face went white. 

'* They come now to do their evil 
work ! Oh, listen, I beg you, your 
Majesty, before it is too late. See! 
Hide behind this hanging here." 

She drew a hanging of the great bed 
across her Queen's form as the door 
was burst in and Sir Malcolm stag- 
gered in with drawn sword. 

"You!" he cried in astonishment. 

"Stand away from that curtain !" 

" But—" 

" Do as I command, for I am master 
here now. If — " The curtain fell 
back and the regal figure of the Queen 
was disclosed. "I thought so!" 
laughed Sir Malcolm. And suddenly 
he raised his sword. 

But at that moment there was a 
shivering of glass; the great stained 
window fell inward in a million pieces 
and into the room bounded Sir John 
Manners. There was the flash of steel 
against steel, a muffled groan, and the 
body of Sir Malcolm Yernon fell 
a-sprawl across the floor, empty of life. 

TTie Queen in affected anger granted 
Sir John Manners his life in 
return for the saving of hers but 
banished him there and then. 

And so it befell that as Sir John rode 
so sadly away from Haddon Hall that 
he did not even raise his eyes and bid 
a last farewell to a certain trysting 
place a peremptory voice bade him halt. 
" Her Majesty hath not commanded my 
comings and goings," quoth Dorothy. 
" Think you that steed of yours, John, 
will carry two?" 



JANUARY 1925 



Picture s and P/chjreQoer- 



77 



Worth Their 
Weight \w Gold 



A few film folk to whom Antipon and 
rubber corsets mean less than nothing. 

To the thin the fat arc always a 
source of laughter. 1 have still 
to discover why several stones of 
superfluous flesh should have 
such a hilarious effect upon the on- 
looker, but there it is, a fact proven and 
indisputable. The vision of an ordinary- 
sized individual running to catch a 
train evokes neither interest nor amuse- 
ment, but a fat person in the same pre- 
dicament — how excruciatingly funny ! 

Hollywood is a little Mecca for fat 
people with histrionic talent, for there 
is always a demand for them, and un- 
like the sylphlike beauties and romantic 
heroes that invade the casting director's 
office in their hundreds, they have not 
become so numerous as to overcrowd 
the market. Plump people, of course, 
abound, but real honest-to-goodness fat 
is worth much to its possessor. 

Willard Louis would never have been 
given the chance that started him on 
the highroad to success if his plumpness 
had not first caught the director's eye. 
It was on this account that he was given 
the role of " George, Prince of Wales " 

Right: Joe Cobb of "Our Gang" is 

nearly as broad as he's long. Beloiv. 

Babe London and Walter Hiers who add 

weight to Christie Comedies. 





Above : Nellie Lane, the world's fattest 
woman. Left : Lloyd Hamilton (Ham). 

in Beau Brummel, and he played this so 
well that he was afterwards given the 
starring role in Babbit. 

Walter Hiers is another who makes 
capital out of his rotundity, and Babe 
London, the Christie Comedy girl, 
would probably never have embarked on 
a screen career had she been built on 
slimmer lines. As it was, she was more 
or less pitchforked into the movies bv 
a force of circumstances, altogether too 
strong for .her to resist. 

Che lived on her uncle's farm in Iowa, 
and her one ambition was to study 
art. Then she moved with her family to 
San Diego, California, where she 
attended high school and the art 
academy. The other girls with 
whom she played and studied were 
nearly all set on screen careers, 
but Babe used to laugh good- 
naturedly at the idea, until one day she 
came^upon a small moving picture com- 
pany " shooting " scenes for a film. 

They needed a fat girl and before she 
knew what was happening she found 
herself engaged for the part. After 
that she went to Los Angeles, where she 
found work plentiful, and she decided to 
take the opportunities that came to her, 
save money, and take up her art studies 
again later on. 

Then there is Joe Frank Cobb, the 
large square boy, who is a member of 
Hal Roach's " Our Gang," and Lincoln 
Stedman, whose beaming youthful 
countenance is well-known to picture- 
goers. 

All have a very definite place in the 
regard of those who watch their films, 
and all may well be grateful to the adi- 
posity that has proved, not a handicap, 
as might at first appear, but a valuable 
asset. E. E. B. 



78 



Pictures and PichjreOoer 



JANUARY 1925 




Jackie Coogan in "A Boy of Flanders." 



Odeal (Birmingham). — George it is, 
Odeal. I don't like being " Sir-d." (1) 
Ivor Novello is playing in " The Rat " at 
the Garrick Theatre just now. (2) Sorry 
I can't tell you if Ivor is " heart-whole 
and fancy free." He doesn't pour his 
love troubles into my sympathetic ears, as 
you fans do your film worries. (3) I 
think he would sign that sketch for you 
if you asked nicely. Write him at his 
flat, 11, Aldwych, Strand, London, W.C.2. 

B. P. Fan (Heme Hill).— (1) Try Astra- 
National Productions, 101, Wardour St., 
London, for stills from Bull Dog Druin- 
tnond. You have my blessing, if you 
think it will do you any good. 

Got-'Em-Badly (Harrogate). — You 
didn't sign your letter so I've given you 
the most appropriate name I could think 
of after reading it. Have passed it on to 
the " Thinker " with your request. 

Peggy Machree (Stroud Green). — 
Letter forwarded to Pauline Frederick. 
I hope she'll answer you, but nothing's 
certain in this life, you know. 

Lynette (Birkenhead). — (1) Jack Holt 
is married and has several children. (2) 
Adolphe Menjou is married. Job had 
nothing on me for patience. 

G. E. G. (Stamford Hill).— (1) Inter- 
view with Alice Terry and Rex Ingram 
appeared in December 1923 PICTURE- 
GOER. I'll do my best to get those other 
interviews for you sometime. (1) Scara- 
mouche was released September 22nd. 
The Arab won't be generally released 
until February 23rd, 1925. 

Mary (Worcester). — (1) Violet Hopson 
is married to Walter West. (2) Release 
date of Ruth Roland's next film not yet 
fixed. (3) Address letters to Lillian 
Douglas and Chrissie White c/o these 
offices. 

Evelyn (Brcconshire). — (1) Henry 
Victor was born in London. (2) He isn't 
married. (3) His chief films arc : 67i<*. 
Beyond the Dreams of Avarice, Old 
Wives' Tales, Diana of the Crosszvays, 
Bill of Divorcement, The Royal Oak, The 
Prodigal Son, The Scandal, The Eternal 
Survivor, Colleen Bawn, His Grace Gives 
Notice, and The Love Story of Alicttc 
3runton. 

M. E. D. (Brondesbury).— (1) Ramon 
Novarro is at present in the East, finishing 
work on Ben Hur. (2) So far as 1 know 



he doesn't intend to visit England at the 
moment. (3) I should stick to the stage 
if I were you. There are very few 
chances of making good in film work now, 
especially as only one or two British 
studios are working. 

Myrtle (Cambridge). — (1) Dale Fuller 
has been chosen by Elinor Glyn to play 
" Countes Olga " in the film version of 
her novel His Hour. This will be the 
first well-dressed role she has had. (2) 
Her last film was Von Stroheim's Greed 
which the Censor has not yet passed for 
presentation over here. Call me dear if 
you want to — I'm used to having the affec- 
tions of fair unknowns showered upon 
me. 

Chrystal-gazer. — You win your answer 
and lose your bet at the same time. I 
smoke anything but "Woodbines"! (1) 
Lewis Stone is married to Laura Oakley. 
He has two daughters. (2) I think he 
would send you an autographed photo if 
you ask nicely. (3) I don't know whether 
marking the envelope " private " would 
ensure a personal answer, but there's no 
harm in trying. (4) Yes, quite a lot of 
people love Lewis — you're not the only 
one by a eood many thousand. 

O. R. (ByfleetV— '(1) J. Warren Ker- 
rigan was born Julv 25th, 1889, at Louis- 
ville, Kentucky. (2) He lives in Holly- 
wood now. (2) He's not married, because 
he has never yet found anyone to come up 
to his mother — so if you think you're the 
kind of girl likely to " remind him of his 
mother," now's your chance. (5) His 
latest film is Captain Blood, a Vitagraph 
picture in which he plays with Jean 
Paige. 

Connie (Fulham). — (1) Conway Tcarle 
has dark hair and eves. (2) Douglas 
Fairbanks has black hair and hazel-brown 
eyes. Glad to hear you haven't any 
serious designs on either. 

Puzzled Phyl (Lanes.) — Your worries 
are difficult to explain on paper, but I'll 
do my best. (1) Inspiration Films are a 
special company in which the Gish sisters 
and Richard Barthclmess are interested. 
(2) Ritz-Carlton is a new Company 
formed for the production of Valentino 
films. They are only affiliated with Para- 
mount Pictures for business purposes. That 
is, Ritz-Carlton attend to the production 
and Paramount releases the films. (3t The 



same thing explains other similar cases. 
Richard Barthelmess, for instance, relases 
most of his films through First National. 
Does that clear away the foe, Phyl? 

Six Improvers (Birmingham). — Your 
somewhat heated epistle has been passed 
on to " The Thinker." Ever tried a soap 
box in Hyde Park? 

Daffodil.— (1) Try Fox Film Co., 13, 
Berners St, Oxford Street, London, W.l, 
for photos of Tom Mix. (2) House Peters 
was born in Bristol in 1888. (3) He's 
married and has a little daughter, Patricia. 
(4) Wallace Reid was married to Dorothy 
Davenport Glad you think PICTURE- 
GOER " a ripping book." Words 
wouldn't do justice to my particular style 
of beauty, Daffodil. 

Phyllis (Leicester). — I've forwarded 
your letter, and most magnaminously for- 
give you. (1) Gloria Swanson has a little 
daughter, and also an adopted boy. 

Picture Mad. — Sorry, no casts in these 
columns. Send stamped, addressed en- 
velope for an answer through the post. 

Deirdre (Sussex). — I get many " nice 
chatty letters, full of nice things about 
PICTUREGOER" from people who want 
me to do something for them, that I can't 
remember your particular one. If you 
sent me a letter to Rudolph I certainly 
forwarded it, so you must blame the 
G.P.O. if you haven't had an answer. 
Send in your other letters and I'll see that 
they go to the right addresses. 

Betty (Brondesbury). — Letter for- 
warded. 

In The Dark (Manchester). — Judging 
from the number of people who are per- 
fectly sure that I'm a handsome, clean 
shaven young man, I should have been 
" auto-suggested " into an Adonis years 
ago. (1) Nigel Barrie was born Feb. 5th, 
1889. (2) His latest release is Claude 
Duval. (3) An art plate of Nigel 
appeared in February 1924, PICTURE- 
GOER. 

Two • Rudy Worshippers (Isle of 
Wight). — I hasten to relieve yonr state of 
" horrible anxiety " in my usual helpful 
fashion. Rudolph Valentino certainly 
doesn't intend to cultivate his "atrocious 
little beard " after the film for which its 
growth was necessary is finished. 

Li i.lee of the Vallee (Stourbridge). — 
Glad to hear you had such a nice photo 
from vour favourite. 




Philo MeCullough and Laura La Plante 
in " The Dangerous Blonde." 



JANUARY 1925 



Picture s en d Pi c rv re o e r 




Marjorie Hume and Carlyle Blackzvell in " Two Little Vagabonds 



Nor A Film "Fan (Brighton). — (1) A 
star is anyone whose name goes above the 
title — i.e. Gloria Swanson starring in 
Manhandled. A star is not necessarily a 
better actor than a featured player. It is 
simply that his or her name is used as the 
greatest draw for the public when the 
film is shown. (2) Lewis Stone has been 
starred is some films but has been playing 
featured roles recently. 

M. F. (Grange Park). — I've decided to 
give up the idea of a harp to go with my 
halo, and to invest in a ukelele instead. 
I hear it's easier to play. (1) Jackie 
Coogan is most certainly not a girl, but 
a very boyish small boy. 

Carmelite (Southport). — (1) Carmel 
Myers was born April 9th, 1901. (2) She 
was married to a Mr. Karnblum. (3) 
Her next film is Babbits, released this 
month. (4) Send your letter and photo 
to me in a plain stamped envelope and 
I'll forward it for you. So you're a fan 
at last, my child. You all come to it 
sooner or later. 

Monte-FoR-Ever (Portsmouth). — (1) 
Monte Blue's just got married.. (2) 
Write him c/o Warner Brothers, Holly- 
wood, California. (3) Your plea is 
granted. You'll find an interview with 
Monte in this issue. I hope you're duly 
grateful. 

F. D. P. T. (Yorkshire).— (1) Letters 
forwarded on arrival. (2) Joseph Schild- 
kraut was born October 9th, 1896, in 
Roumania, and Richard Dix in 1894, at 
St Pauls, Minnesota. (3) Charles de 
Roche is about thirty. (4) I'll do my best 
to get you an art plate of Charles later. 

A Regular Reader (Chelsea).— (1) 
Gregory Scott's birthday is December 
15th. He's about 30 years old, and he 
isn't married. He hasn't done very much 
film work recently. 

Marjorie and Ethel (Plaistow). — (1) 
Gladys Cooper's films to date are : The 
Bohemian Girl, Bonnie Prince Charlie, 
My Lady's Dress, and Masks and Faces. 
(2) I believe most of her pictures have 
been shown in America. 

Shingled (Wimbledon). — I've for- 
warded your letter to Huntley Gordon. 
I'll do my best to get you an interview 
later. 

Santo Teresita (Bristol).— Still suffer- 
ing from a bad attack of curiosity, I see. 
(1) Nita Naldi was born April 4th, 1899, 
in New York. (2) Sessue Hayakawa is 



at present in Hollywood, where he has 
contracted to make a picture with 
Famous-Lasky. Title isn't announced yet. 
Cricklewoodite (Cricklewood). — You 
have my august forgiveness — if you think 
you need it. (1) Cullen Landis was born 
July 9th, 1896, at Nashville, Tennessee. 

(2) Address Marion Davies c/o Cosmo- 
politan Prods., Second Avenue, N. Y. C. 

(3) Address Viola Dana c/o Metro-Gold- 
wyn-Mayer Studios, Culver City, 
California. 

Valentino (Manchester). — Release 
dates in London and the provinces don't 
always tally. In some cases the provinces 
see films before we get them in London — 
and vice versa. So now you know ! 

Bubbles (Exeter). — You can get per- 
sonal answers from me if you enclose a 
stamped, addressed envelope, but I can't 
promise that they'll be immediate. It 
depends on whereabouts your letter comes 
in my postbag. (1) Eric Von Stroheim is 
married. He was born in Austria in 
1885. (2) Try Jury's, 19-21, Tower St., 
London, W.C. for stills from Ramon 
Novarro's pictures. He hasn't been to 
England yet, and so far has made no 
plans about visiting us. Thanks for your 
kindly admiration. I'll have it framed. 

Pola's Admirer (London). — (1) Lily of 
the Dust is your favourite's latest. She's 
now at work on Forbidden Paradise, 
directed by Ernst Lubitsch, and after that 
she is to make A Woman Scorned, 
directed by James Cruze. 

Mary (Manchester). — Yes, I'm a hand- 
some young chap. I should become quite 
conceited if it weren't for my mirror ! 
(1) Alma Rubens has been engaged to 
play Gerald Cranston's, Lady, in the film 
version of Gilbert Frankau's novel. 

F. L. (Hastings).— (1) Ronald Colman 
next in Romola, with Lillian and Dorothy 
Gish. (2) Henry Ainley was born August 
21st, 1879. (3) Kenneth Harlan born 
July 26th, 1895 in New York. 

South African (Liverpool). — Thanks 
for halo. I've added it to my collection, 
and shall take it out and admire it on 
rainy days. (1) Rudolph not Rodolf is 
correct. (2) Mae Murray's married to 
Robert G. Leonard. (3) Rod le Rocque's 
next release will be A Society Scandal. 

Zuffkins (Berks). — (1) No casts given 
in these columns, Zuffkins — not even for 
vou. (2) Ivor Novello is 5 ft. 10 ins. 
{Continued on page 80). 




"fK^ myst^rjovs fhicjr^mK 
of Jsar7g-]bavg, surzzf 
^ p^rfvm^ from th^ 
"mystjr; ]&nd beyond 

cfr^ Hjr77el]sNfcls]'folJCl75S 

a f-ij cfd^n sprjng of 



Perfume 2/9, <f 9, 9/6. 

par;^ Pourder 3\ J. 
Soap 10 1 *J. 



K 




Sweet PERFUME of Thibet ^ 



., :«J 



V\ 



Btfore starting to "cut out" get oui 
chart. " Making-up " on a stand 
modelled to your own measurements 
saves guessing, time, and material. 
50 years reputation behind each stand. 
Catalogue post hee. — CLARK'S 
DRESS STAND CO. LTD., 
Tottenham Street, W.i. 
Expanding Model as Musttatea, 
suitable for all sites. Price com- 
plete in box, carnage paid UJ(. 
45/- 



Give the Children 

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BOOK 

Not an ' ' annual," but a big book that win keep 
the youngsters happy the year round. 

SIX SHILLINGS 



80 



Pictures and PictvreOver 



JANUARY 1925 



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minimum 3 shillings. 

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READ America's Motion Picture Magazine, 
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FOR SALE. Kine-Reflex Cinematograph 
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" WHAT MEN REALLY WANT " (by a 
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I WILL TELL YOU FREE 

HOW TO REDUCE 

YOUR WEIGHT. 




I was just a strong youi-„ ooiuan, full of life and 
vigour, and fond of good things to eat, enjoying life to 
its fullest extent, when suddenly my weight began to 
increase, and, strong as I was, I began to feel the 
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1 began to feel lonely, because I felt that my company 
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K.C.I. 



NO SUBSTITUTE or FANCY FLOUR U. titr «, u || e d 

BOR WICK'S 

BAKING POWDER 

for giving the beat reiulU in home baking. 




" Nana " (George Alt) tries out his make-up. 



Victor (Surrey). — I've forwarded your 
letter to Pearl White. Her address is 
c/o Eclair Studios, Paris, France. 

Peter Fan (Hatfield).— (1) Peter 
Upcher isn't doing any film work at the 
moment. He's touring on the legitimate 
stage. 

A. B. (Port Elizabeth).— The best way 
to get a signed photograph from Alice 
Terry is to write to her direct. I expect 
she'll let you have one. Address her c/o 
Metro-Goldwyn-Mayer Studios, Culver 
City, California. 

R. T. (Johannesburg). — Wants to know 
what it means to be " starred " in a film. 
" Screenically " speaking, "stardom" is 
what Blanche Sweet was given as a re- 
ward for being bad, and Lillian Gish was 
given for being good. But usually it's a 
title given to an actor or actress to per- 
suade the public they're watching some- 
one worth seeing. There are other 
definitions of the word — but you asked 
for mine ! 

W. L. (London). — Letter forwarded. 

Nora S. (Lichfield). — Glad to hear my 
good wishes have had so potent an effect 
on their victim. (1) I've forwarded your 
letter to Ramon and repeated the dose. 
(2) "Peter" in Passions of the Great, 
was played by a German whose name 
isn't given in the cast. Sorrv ! 

Tomato (Sale). — Richard Dix was born 
1894 and Tom Meighan in 1888. 
<( K.L.B. ( (Bath). — Carol handed to 
" Carols " Editor with my blessing. 
You've certainly been lucky in getting 
signed photos from your favourites. 

Annie (Durham).— Glad you like PIC- 
TUREGOER and my own flowing wit. 
(1) Try Fox Film Co., 13, Berners Street, 
Oxford Street, W.l. for stills for 6"/. 
Elmo Murray and The Exiles and Jury's 
Imperial Pictures, 19-21 Tower Street, 
W.l. for stills from Trifling Women. (2) 
The usual price is 2/- to 2/6. (3) John 
Gilbert is starring in the film version of 
Elinor Glyn's This Hour. (4) Send for 
a postcard list from Picturegoer Salon. 
88, Long Acre, and you will find John's 
name included. 

Denis (Wickmere).— (1) Lillian Gish 
was born October 14th, 1896, in Spring- 



field, Ohio. (2) Lillian was on the stage 
before she started film work. She was a 
child actress and toured with the Pickford 
family when their name was Smith. (3) 
I believe she is of rather a retiring nature. 
(4) I think she would answer you if you 
wrote — anyway, there's no harm in 
trying. 

E. M. (W. Dulwich).— (1) Address 
Gloria Swanson and Sessue Hayakawa, 
c/o Lasky Studios, 1520, Vine Street, 
Hollywood, California. (2) Address 
Constance Talmadge and Conway Tearle 
c/o United Studios, Hollywood, 
California. 

Rochette (Ramsgate). — You're a late 
comer, but I'm pleased to meet you all 
the same. (1) Thomas Meighan was in 
The Miracle Man. (2)Charles de Roche's 
name is — Charles de Roche ! (3) He's 
about thirty years old, of French extrac- 
tion. (4) Charles isn't married to date. 
His address is c/o Lasky Studios. (5) 
Shirley Mason is starring in My Hus- 
band's Wives, a Maurice Elvey production. 

Ann (London). — Pola Negri is at Lasky 
Studios. (2) She has just finished work 
on Forbidden Paradise, and is going to 
play in A Woman Scorned, directed by 
lames Cruze. , 

R. T. (Lincoln). — Sorry you're sorry — 
you needn't be ! (1) Claire Windsor's 
latest is Bom Rich. (2) She has a little 
son named Billy. 

F. A. (Southport). — (1) Address Alice 
Terry c/o Metro-Goldwyn-Mayer Studios 
Culver City, California, and Rudolph 
Valentino, c/o Ritz-Carlton Prods., 6—8, 
West 48th Street, New York City. (2) 
Of course Til wish you luck if you think 
it will do any good. 

Flicker (Aberdeen). — Quite well thank 
you, Flicker. My memory has been 
developed by continuous use — it never has 
time to get rusty ! I've sent that letter 
and hope you get a reply e'er long. 

Langitf. (?) — Now you come to mention 
it, I am rather a dear, aren't I? (1) I've 
forwarded your letter to Matheson Lang 
in my usual delightful fashion. (2) 
Matheson is married to Hutin Britten. 

Dick's Admirer (S. Africa). — There's 
evidently nothing feline about you or 



JANUARY 1925 



Picture s and Pichjre pver 



81 



you'd have departed this life long ago. 
Thing that out ! (1) Dorothy and Lillian 
are both 5 ft. in height; Anna Q. Nilsson 
is 5 ft. 7 ins. and so is Dick Barthelmess. 
(2) Sorry, no casts in these columns. (3) 
Tom Mix is so well known that I think 
that letter will probably find its way to 
him, although the address was rather 
vague. (4) Send a postal exchange 
coupon (obtainable at any Post Office), 
with your letter. 

Muriel (Oswestry). — Thinks I'm "a 
wonderfully patient man." So do I, 
Muriel ! (1) I've forwarded your letter 
to Pearl. 

K. Hall (Beeston). — You must be 
almost as clever as I am. (1) Fred 
Thompson was the hero in Just Around 
the Corner — not Carl Brissen. Carl is a 
stage star. (2) It must have been 
Reginald Denny's double you saw at 
Bournemouth. Reg hasn't been over here 
— his wife deputised for him. 

K. B. L. J. (Brighton).— (1) Send your 
letters on to me, and I'll see that they're 
forwarded. (2) " Stills " are photos 
depicting scenes in a film. (3) Try Jury's 
Imperial Pictures, Ltd.. 19-21, Tower St., 
W.l. for stills from Scarampuche. 

Gray (Birmingham). — I'll do my best 
to get you some more photos of your 
favourite later on. (1) Conrad Nagel is 
married to Ruth Helms and has a little 
daughter. He has blue eyes and fair 
hair. (2) Pola Negri isn't married now. 
She lives in Los Angeles, and has recently 
become a naturalised American. 

Felix (Gloucester). — (1) Does it matter? 
He isn't anyway. His latest film is White 
Slippers. (2) Margaret Leahy isn't doing 
any more film work at present. Her 
picture, The Three Ages, went the round 



of the kinemas in the usual way. (3) 
Matheson's address is c/o StoU Studios, 
Cricklewood. He'll probably send you a 
photo if you ask nicely. No photo of me, 
though, Felix I'm too kind hearted to 
inflict such things upon my friends. 

Tizi (Birmingham). — (1) Annette Ben- 
son, Nina Yanna, Clive Brook and 
Warwick Ward were in The Mom-y 
Habit. (2) Art plate of Herbert Rawlin- 
son appeared in Feb. 1Q22. (3) I can't 
tell you off-hand how many questions I've 
answered through PICTUREGOER, but 
if you really want to know you can take 
a look through the back numbers and 
count them up for yourself. 

Victoria (Reigate). — Letters forwardedN, 
As you seem to think me a " nice, kind / 
man," I suppose I shall have to live up to/ 
my reputation 

A New Arrival 
A welcome 
little stranger is 
the Baby Cine 
Projector which 
Pathe's have re- 
cently put on the 
market. It con- 
nects to an or- 
dinary house 
electric installa- 
tion and will 
project a clear 
4 ft 4 in. by 3 ft. 
picture. The 
films, which are 
only | in. widt 
are supplied 

ready for immediate use, and a very wide 
show of Sport, Travel, Comedy, Drama, 
Natural History, etc., etc., are available. 




STICKY FINISHES (Continued from page 57.) 



Yes, and come to think of it, I was 
nicely hanged in Marshall Neilan's pic- 
ture, Go and Get it. I died game, too ! 
Went to the gallows smoking a 
cigarette; lots of heroes couldn't do 
that! 

" And yet no audience ever appre- 
ciates the poor villain ! He is always 
' Unwept ; unhonoured, and unsung.' 
He is despatched out of the story some- 
how, and that's all that matters !" 

A somewhat new note in the despatch 
of villains is struck in Betiveen Friends 
hy the pact which is arranged between 
the hero and villain. According to this 
agreement Norman Kerry, the false 
friend who has seduced the film wife of 
Lou Tellegen, agrees to commit suicide 
on a given date and at a certain hour 
to satisfy the hero's desire for ven- 
geance. 

At the appointed moment, however, 
the hero repents his revengeful idea, 
and, by mental telepathy, prevents 
Kerry's self-imposed death. Kerry, not 
being a dyed-in-the-wool villain, and in 
a spirit of contrition, goes away out of 
the country leaving Tellegen to his new- 
found happiness. 

This leads one to remember, of 
course, that in despair of finding new 
ways of getting rid of their villains, 
some writers convert them. You and 
I have seen some wonderful conversions 
on the screen. 

Somehow, though, in the case of 



black-hearted scoundrels and crime- 
hardened schemers, at any rate, these 
sudden regenerations are horribly un- 
convincing. One has a feeling that the 
viHain's blackness is being washed over 
with a thin coating of white which will 
rub off at the slightest friction. 

A short while ago scenario writers 
were very much smitten with the idea 
of sending women wrongdoers out into 
the desert to die as a means of getting 
them out of the way of the hero and 
heroine. 

The classic example of this, of course, 
is Bella Donna; and one must admit 
that the sight of beautiful Pola Negri 
stumbling out to her fate amidst a 
desert sand-storm surrounded by ravag- 
ing beasts of prey, left a far more 
vivid impression than the shooting, 
drowning or throttling finish meted out 
to so many male criminals. 

A very charming villainess is Betty 
Compson in The Woman with Four 
Faces. From being a crack safe- 
breaker she is converted and seals her 
regeneration by assisting the " powers 
that be " in an organised raid on the 
opium traffic. 

And, of course, there are numberless 
instances of picturesque good-bad men 
who tire of their villainy and suddenly 
perform mighty deeds of heroism. 
William S. Hart loves playing such 
roles, and in his latest movie? he is a 
heroic villain after his own heart! 





k 



-^L J When 
"fiatoff!! 



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82 



Pictures and Pichjrespver 



What QaYou Think? 



YOUR 

VIEWS 

AND 




" \Y/hy will these film stars disguise 
themselves so much? In the 
last film in which I saw Gloria Swan- 
son, she did her hair in at least five 
different styles. 
Queries And why will 

Unlimited. they dress out of 

keeping? In the 
same film Miss Swanson who had 
gone to inspect some oil fields, wore 
in the evenings dresses that even the 
most luxurious woman would envy. 
And .as for the general American 
production, I don't consider it a patch 
on any English films. Witness 
Gwynefh of the Welsh Hills 
and then you will see the difference. 
What do you think?" 

R. S. H. {Longford) 

" Tt has occurred to me while seeing 
one of the Song pictures that the 
two arts do not properly synchronise ; 
I find one jars on the other. ' 

The mind is 
Down With incapable of taking 

Song Films. in more than one 
set of word sym- 
bols at once, and one has to choose 
between the singer and the film. One 
cannot read the subtitles and follow 
the song intelligently at the same 
time. At the same time orchestral 
music does not react in this manner 
being mostly taken in a semi- 
conscious, dreamy fashion which 
does not serve for vocal music. One 
may listen to an orchestra and carry 
©n a conversation, doing both intelli- 
gently but it is impossible to read and 
follow the words of a song at the 
same time. Has any other reader 
noted this?" 11'. A. D. {Liverpool). 



" I— lave you noticed how, after 

a Charlie Chaplin film, for 

the next 12 months Charlie's ideas 

are served up again and again in 

all forms ? Now do 
Dayliyht you think this is 

Robbery. fair? I think the 

public should show 
their disapproval of such injustice. 

Last evening I went to see The 
Destroying Angel, and as Leah 
Baird stands on the platform waiting 
for a lover (who doesn't turn up) the 
train comes in and the lights are 
shown on her face and on the wall — 
Charlie's idea taken straight from 
A Woman of Paris. 

Isn't there some law to prevent this 
kind of thing? It's enough to keep 
our little comedian from utilising his 
original ideas. Ditto with The 
Marriage Circle and countless others. 
I'd like to know what others think." 
Ethna {Cardiff). 

" \X/' iat ^° y° u th m k about devot- 
ing this page next month to 
readers' solutions of the German 
mystery film Warning Shadows. The 

aforesaid solutions 

An Ingenious would be so diverse 

Suggestion. and give all you 

people connected 
with the film industry an idea of how 
many filmgoers take the cinema 
seriously. My theory is this : 

Warning Shadozvs represents an 
allegory. 

Jealpus Husband — Germany; Wife 
— France ; Lover — England ; Cava- 
liers — Our allies, Japan, Italy and 
Spain ; Maidservant — Belgium; Man- 
servant (with face reminiscent of 



JANUARY 1925 

war-time Huns) who binds the Wife 
— Bolshevik Russia; the other Man- 
servant who pleads, a forlorn 
remnant of Imperial Russia; Mes- 
merist — America trying to show 
Europe the folly of petty jealousy. 

" ""The Chinese silhouettes might 

have forecast China's Civil 

War, the Chinese holding the wool 

representing the industrial side doing 

It Might— And awa >' with the idIe 

Again It Might f I e a s " r , e " 

Not. loving Manchus 

(the other figure 
being by his dress obviously a man- 
darin). Well that might have been 
interpolated with the main story to 
show that for the present the Yellow 
Peril is somewhat remote. China in- 
sular to the backbone is quite con- 
tent with looking after her own 
affairs and won't bother about us, 
and does not want us to bother about 
her. The jealous husband having so 
many swords in his study might mean 
a polite hint that in the event of 
another war, Germany will have 
enough arms to supply us all and we 
had better look out, or go on making 
weapons of destruction ourselves." 

Thinker {London). 

"T wish the British film industry 
was not at such a low ebb, for 

there really is more scope for good 

film stories in this little island than 
all the rest of the 

Of Course ! world put together 

and including those 
British film making 

in America and Germany, enough 

local talent to compete with any other 

race under the sun." 

Hamlet {Westminster). 

" A propos of the 'Big Twelve,' I 
consider that such a question 
is simply asking for trouble ! Of 
Course, if you want lists of every- 
one's favourite 
' stars,' you are 
certainly setting 
about it in the right 
way of thinking, 
' Tandy ' does not seem able to dis- 
tinguish between talent and genius. 
Filmdom does not contain a dozen 
to whom the 
word genius 
may truthfully 
be applied. I 
hand the palm 
to Ramon 
N o v a r r o 
amongst actors 
and Rex In- 
gram amongst 
producers. 
Gooseberry {Ches.)} 

THE THINKER. 



/ Plead Guilty. 



way ! To my 




FEBRUARY 1925 



Picture s ar\d Pichure puer 




A specimen of the 
'Passing Show's' 
famous 2 - colour 
covers. Note the 
wonderful list of 
contributors. Did 
you ever see such 
an array of talent 
for twopence? 



ft 



Funny as "Felix 

— C heery as Chaplin 

HAROLD LLOYD? A Christie or Mack 
Sennett Comedy? Charles Chaplin? 
Felix the Cat? What is the funniest 
thing on the screen? Opinions are divided, but 
there's only one view when humorous weeklies 
come under discussion, and that is that the 
'Passing Show' is far and away 'Britain's 
Brightest Weekly.' Take a copy home to-day. 



THE 



PASSING SHOW 

Every Saturday — Twopence 



Pichure s and Pichure puer 



FEBRUARY 1925 



r/\i r±\ 



I 



«J 
8 

a 

1 

K] 

IK1 



1 

H 

is 

[Kj 
1«] 



^ 



1 
1 



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--V ">. 



V^ 



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Who 

is the most 

popular Film Star? 



; ^ 



I. Ivor Novello 2. Bebe Daniels 3. Ramon Novarro 4. Norma Talmadge 5. Harold Lloyd 
6. Jackie Coogan 7. Alice Terry 8. Rudolph Valentino 9 Betty Compson 10. Gloria Swanson 




must be won — no entrance fee. 
CLOSING DATE— SAT., MARCH 7. 



WHO is the most popular Film 
Star? Your opinion in the great 
"PICTUREGOER" £500 Film Star 
Popularity Contest may win you the Grand 
First Prize of £250 or one oi the many 
other big Cash Prizes that are being offered. 
Register your vote now on the Free Voting 
Coupon opposite. 

Never before has a competition been so 
popular or more widely discussed, and it 
CLOSES ON MARCH 7. The Free Voting 
Coupon WILL NOT APPEAR AGAIN. 

All you have to do is to place the 
film stars shown above in what you 



consider will be their correct order of 
popularity in accordance with the popular 
vote. Remember that all the Prizes must 
be won and that there is no entrance fee. 

Every reader , of the "PICTUREGOER" 
will take a pride in seeing that his or her 
favourite stars occupy a proud position when 
the result is announced. Your vote this 
month will help to decide the greatest question 
in Film-Land — "Who is the most popular 
Film Star?" 

All voting coupons must reach the 
" PICTUREGOER " not later than Satur- 
day, March 7. 



■s 



I 



FEBRUARY 1925 



Picture s and Pi chare $oer 



Closing Daae M^rch 7 

Your last Chance to 
win a huge Cash Prize 



IN 



The Great "Picturegoer" £500 Film Star Popularity Contest 



THE GRAND 

PRIZE LIST 

(NO ENTR ANCE FEE.) 
FIRST FREE 

£250 

SECOND PRIZE 

£100 

THIRD PRIZE 

£50 

FOURTH PRIZE 

£25 

25 PRIZES of £1; 
50 PRIZES of Vk. ; 

200 PRIZES of 2s. 6d. 

Also Prises for Picture Theatre 
Managers as follows; — 
lit Prix* lit; 2ndPrixe£5; 
3rd Prix. £2 10* 



•THE Great "Picturegoer" £500 Popularity 
Contest closes Saturday, March 7. Thfs is 
your last chance to win one of the Huge 
Cash Prizes in the Greatest Film Star 
Popularity Competition of all time. Record 
your vote on the Free Voting Coupon below 
— it will not appear again. Be loyal to your 
favourites- VOTE NOW! 



THE 

^ Picturegoer 

£500 Ita 1 * 1 

POPULARITY CONTEST 



FREE VOTING COUPON 

Write clearly in ink, in the spaces below, the names of the 
Ten Film Stars appearing on the opposite page, in what 
you consider is their order of popularity. Coupons must be 
filled in as directed in the Rules and Conditions govern- 
ing this Competition. Then fill in your name and address 
in t he space provided below and post this coupon to the 
" PICTUREGOER," Film Star Competition, 85-94, Long Acre 
London, W.CA 

CLOSING DATE MARCH 7. 

lit 

Sad 

3rd 



5 th 
«th 
7 th 
8th 
tta 
10 th 



lhaot read, and accept, the R ula andConditioni governing thil Competition 

Name 

(Mr., Mrs., or Miss) 

Address 



Rules and Conditions 

governing the "PICTUREGOER" 
£500 Film Star Popularity Contest. 

1. — Acceptance of these Rules and 
Conditions is a specific condition of 
entry for this Free Competition, and 
the decision of the Editor of the 
" Picturegoer " upon any point 
whatsoever must be accepted as 
final and legally binding. 

2. — On the opposite page appear 
the photographs of ten famous Film 
Stars. Decide in your own mind 
which of these ten Film Stars will 
be regarded as the most popular by 
the general public. Then write his 
or her name in the first space on the 
Voting Coupon which you will find 
herewith. The name of the Film Star 
whom you consider will be regarded 
as the next most popular should be 
written in the second space and so 
on until tht names of each of the 
ten Film Stars have been filled in. 

3. — The popular order will be 
determined by the totals of the 
votes received from competitors 
themselves. That is to say the most 
popular Film Star will be deemed to 
be the one which receives the largest 
number of votes for the first place. 
The second will be the one which 
receives the greatest number of 
votes for second and first places 
added together, and so on. 

4. — The Competitor whose list 
agrees, or most nearly agrees, with 
the popular order as determined by 
the Competitors themselves, will 
receive the first prize, the next 
nearest will receive the second prize 
and so on. 



5. — In the event of a tie, the 
Editor reserves the right to com- 
bine the prizes so affected and to 
divide the amount or amounts 
equally amongst those competitors 
who tie. 

6. — All votes must be recorded 
in ink on the official Voting Coupons 
which must not be altered or muti- 
lated in any way, and the com- 
petitor must write his or her name 
in ink in the space provided. 

7. — Proof of posting cannot be 
accepted as proof of delivery or 
receipt, and the Editor will not be 
responsible for any entries lost, 
delayed or mislaid. 

8. — No correspondence may be 
entered into in connection with this 
Competition. 

9. — The Editor may disqualify any 
competitor for non-compliance with 
these Rules and Conditions, or for 
any other reason he may consider 
good and sufficient. 

10. — This Competition is limited 
to " PICTUREGOER " readers in 
the United Kingdom, the Irish Free 
State, the Channel Islands and the 
Isle of Man. 

* * * 

The result of the Competition will be 
announced in the " Picture! oer," and 
•very prixe winner will be individually 
notified. Final Free Voting Coupon 
appear* THIS MONTH. Competitors 
may aand in aa many at temp ts aa 
they like provided that each attempt 
it tent in on a Free Voting Coupon 
cat from the " Picturegoer ." Closing 
date Saturday, March 7. 



ggcgEglgggipQMMMMrgpqgaHg&EggB^lgx^^ 



Picf-\jre s and Pichjre poer 



FEBRUARY 1925 



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IN SEALED PACKETS AND TINS FROM ALL GROCERS 



FEBRUARY 1925 




Picture s and Picture^ ver 



.'. CONTENTS .*. 

FRONTISPIECE '*!* 

Marion Davies. 

PICTUREGOER PINPRICKS | 

MOVIE DOWN-AND OUTS 10 

Derelict! of the Silent Drama. 

A CHINESE PUZZLE 12 

Otherwise known at Anna May Won/. 

MERTON OF THE MOVIES - - U 

The best film romance yet. 

MY TRIP ABROAD 1| 

Rudolph visits Rome, 

AN OPEN BOOK 23 

A Character Reading of Baby Peggy, 

MAKING THE STARS AT HOME - - 24 

In a famous New York hotel. 

MODES IN THE MOVIES 26 

How they Come and Where they Co. 

PICTUREGOER ART GALLERY .... 28-32 

Bob Cmter. Frances Howard. William Haina, 
Virginia Lee Corbin, Conway Tearle. 

THE SCREEN FASHION PLATE 33 

THE FOLLIES GIRL 34 

Meet Margaret Livingston. 

THE HUMMING BIRD 35 

The Story of the Paramount Film. 

THE ART OF ADOLPHE MENJOU - - - 3» 

A Genius of Negativity. 

THE EARNESTNESS OF ERNEST 40 

Ernest Torrence lives up to his Name. 

THE IDEAS OF ISOBEL 42 

They're well worth quoting. 
THE FILM OF THE MONTH ... 45 

Abraham Lincoln. 

CONRAD NAGEL AT HOME 46 

THE WAY THEIR MONEY GOES .... 47 

Screen Stars Spend it Freely. 

DARWIN WAS RIGHT ! 51 

Max. Moriti, and Pep prove it. 

THE PHANTOM OF THE OPERA 52 

A big spectacular film. 

WHATLL YOU DO MARY 54 

Will it be screen or stage ? 

KINEMA CAROLS 56 

PULLING PICTURES TO PIECES - ... 56 

PERSECUTING PERCY 57 

That's how they treat Percy Marmont. 

MOVIE VALENTINES 62 

BRICKBATS AND BOUQUETS .... 64 

THE BELOVED BRUTE 65 

A South African Samson. 

SHADOWLAND 67 

PICTUREGOERS' GUIDE 70 

LET GEORGE DO IT ! . . . 79 

WHAT DO YOU THINK? 82 





10 



Pictwe s and Pichure $uer 



FEBRUARY 1925 



Movie Dowkv 
arxd-Owts 

Going down, down, down to the uttermost depths of movie 

degradation seems to be a favourite pastime of screen 

heroes. Perhaps the lovely heroines who rescue them 

have something to do with the craze! 



If I have to watch many more movie 
heroes going " down into the 
depths," I can't be answerable for 
the consequences. I probably 
shan't wait to pour out my soul in a 
series of brickbats addressed to the 
Editor of PICTUREGOER'S "Brick- 
bats and Bouquets " page — I shall 
heave 'em there and then at the screen 
and get a little satisfaction out of life 
before they jail me. 

It isn't that I mind their going down 
there (wherever it is) — I know that 
the pure young heroine will always be 
on hand to do her famous reclamation 
scene in the last reel. What I do 
object to is the way they set about it. 
One minute we see them slick-haired, 
well washed and shaved, with trousers 
immaculately creased, and the next — 
ye gods and little fishes, what a 
change ! 

I^ven their own mothers might well 
fail to recognise their beautiful dar- 
lings, in the dirty and unkempt speci- 
mens into which they degenerate. 
They neglect to brush their clothes 
and change their linen, let face fungus 
grow undisturbed upon their counten- 
ances, and become members of the 
Anti-Soap Brigade. And, worst phase 
of all for the long-suffering audience 
to watch, the deterioration is not 
merely physical but mental. 

They take to drink or drugs — or 
both — and in a very short time, to 
judge from their screen appearance, 
are in a state of wild-eyed idiocy. 



Presently they be- 
g i n to SEE 
THINGS ! Crawly, 
creepy, unpleasant 
things on the cur- 
tains and the ceil- 
ing, where obviously 
none should, in the 
natural course of 
events, be found. 
After a while their 
pasts begin to worry 
them horribly. 

All the people they 



IT v 





Above : 

■ — Frank 

Mayo can 

look the part to 

the life, so can 

James Kirktaood (left). 

have ever wronged 
turn up in unexpected 
corners of the room 
and vie with each 
other in going through 
facial contortions, cal- 
culated to strike terror 
to the strongest of 
miiuls. 

The " down and out" — 
whose mental apparatus needs 
bolstering up at the best of 
times — gets " downer and 
outer " with each succeeding 



Usually a woman's influence redeems 
them 

shock to the system. He clutches 
wildly at the curtains, rolls his eyes 
and rumples his hair, makes hysterical 
lunges at imaginary people, and goes 
through intricate wrestling bouts with 
himself, until worn out with the un- 
accustomed exertion, he sinks uncon- 
scious to the floor. 

"Phis is where the heroine is 
scheduled to find him and pray over 
him — after which he sits up, much 
purified and uplifted, and begins to 
take an interest in his personal 
appearance again. 

Just occasionally, in our most 
modern films, it is the heroine who 
deviates from the straight and narrow 
path, and then it is the hero who does 
the praying and the heroine who 
repents of her sins. 

But in The Red Lily Fred Niblo, 
the author and director, executed a 



FEBRUARY 1925 



Picture s and Picture pver 



11 



master stroke in sending both hero ami 
heroine well on the way to perdition, 
and snatching them both, like brands 
from the burning, at the last minute. 

And their reasons for thus sinking 
into the depths are for the most part 
ibsurdly trivial. Father refuses to 
send next quarter's allowance — see tin- 
result in the Stoll picture Not For 
Sale; the woman in the ease has the 
taste to refuse to marry our 
hero — down into the depths he. goes. 

Comebody lays an obviously false 
*^ accusation of theft at his door, and 
instead of calling the accuser a liar to 
his face and facing the thing like a 
man of spirit, he allows those con- 
venient " depths " to swallow him up, 
until everybody else in the film has 
seen through what the audience found 
as clear as daylight at the very begin- 
ning, and he returns without a blemish 
on his character. 

In Christine of the Hungry Heart, 
" Christine's " first husband, played by 
Warner Baxter, owes his downfall to 
" wine, women and song." He finally 
arrives at the ignominy of a prison 
hospital, where, judging by his 
appearance when he escapes, shaving 
is considered an unnecessary luxury. 

His erstwhile wife, herself some- 
what of a wanderer, finds him in a 
church where he has gone for shelter, 
and takes him up into the mountains 
just in time to provide us with the in- 
evitable deathbed scene, without which 
no film can be judged complete. 

The most thorough down and out I 
have ever seen was played by Percy 
Marmont in the Vitagraph film The 
Clean Heart. The mental tortures 
that man suffered — for no very 
obvious reason — exceeded in wildness 
those of any other film hero it has 
ever been my misfortune to watch. 

It needed the death of one perfectly 
good tramp, and the maiming of a per- 
fectly nice girl, to restore the glim- 
merings of commonsense to his weak 
and bemused mind. Personally I 
think it would have been all to the 
good if they'd taken him out and 
drowned him when quite young — but 
then, of course, there would have been 
no firm. 

But if my sympathies are not with 



the hero in his distresses, I have 

nothing hut pleasant things to ->ay of 
the nal honest-to-goodness, profea 
sional down and out. Give mc a 
weather-hardened tramp, with his toes 

hanging out of his hoots, a jovial 
rover sleeping in barns and haystacks. 

ami plundering hen roosts by nighl and 
mine eyes will delight in the si^ht of 
him. A man like Otis I Lilian m the 
afore-mentioned film, The Clean Hani 
— plump, jolly and care- 
free, despite the 
dirt and rags — is worth 
half-a-dozen of those 
milk and water young 
men who never know 
their own mind from 
one minute to another and fluctuate un- 
til the end of the picture between clean 
sheets and a feather bed in Mayfair 
and a doss house down in. Limehouse 





A fine representative group of movie dozen and outs in " The 
Lighthouse by the Sea" 

Victor McLaglen and Hugh E. Wright had a pretty good 
time in A Sailor Tramp, even though poor Hugh pegged out 
at the end.. 

There's something about a real tramp to win one's 
admiration. No last minute death-bed repentance for him ; 
no simpering heroine kneeling by his side witl tears of 
glycerine grief making channels through the grease paint 
— that's a weakness in which he would scorn to indulge. 
He dies as he lives, the movie tramp, and he's the only 
down and out for me. 



Percy Marmont and Otis Harlan on the tramp in " The Clean Heart." 



E. Elizabeth Barrett. 



12 



Pictures, and Pict\ire$uer 



FEBRUAPY 1925 



P Chinese Puzzle 




The descrip- 
tion suits 
Anna May 
Wong to a T. 




Then she spoke. 
" Say, Jul- 
anne," she re- 
marked, " I got 
this coat at a 
bargain sale 
downtown and, 
gee, I don't 
know now 
whether I like 
it or not. You 
know how it is 
with anything 
you get at a 
sale. After- 
ward, you're 
apt to think it 
looks like some- 
thing the cat 



Anna's 

mother 

treasures 

this baby 

picture of her. 

dragged in." 

She revolved slowly in the centre of 
the small room, a slim, smartly clad 
figure. Julanne assured her she liked 
the coat and presently, seemingly more 
satisfied in regard to her recent pur- 
chase, she departed in the general 
direction of Bagdad. 

Julanne smiled. " She surprised 
you, didn't she? But here's a peculiar 
fact about Anna May Wong," she 
said. " By the time you've talked with 
her for five minutes you forget that 
she is Chinese." 

Improbable as this sounds, it is 
absolutely true. Anna May Wong, 
among Americans, is so thoroughly 
one of us that her Oriental back- 
ground drops completely away. 



Left : Anna May in " The Thief of Bagdad." Below : With 
Tom Meighan and company in " The Alaskan." 



I first met Anna May Wong about a 
year ago. She was lending her 
Oriental beauty, as the poets say, 
to Douglas Fairbanks' production 
of The Thief of Bagdad. I had 
dropped in at the studio to have a char 
with Doug's leading woman, Julanne 
Johnston, and, the dressing-room door 
being open, Anna May walked right in. 
She nodded briefly in my direction. 




FEBRUARY 1925 



Pictures and Pictvrepuer 



13 



Does she, chameleon 
like, become as 
thoroughly Chinese 
when among her own 
people? Are her Ameri- 
canisms merely part of 
a clever pose? That 
she is an exceptionally 
clever actress one can- 
not doubt. She may 
merely wander through 
a corner of the picture, 
but she'H register a hit, 
every time. Witness 
the delightful flashes 
of her in Lilies of the 
Field. Which is the real 
Arma May Wong? The 
Chinese maiden or the 
American one? I 
sought her out not long 
ago, endeavouring to 
find an answer. 

She had just re- 
turned from a sojourn 
among the peaks of the 
Canadian Rockies, 
where, with Thomas 
Meighan, Estelle Tay- 
lor and other famous 
Players - Lasky talent, 
she did her bit toward 
giving The Alaskan to 
a waiting film world. 

She was. she declared, 
when we became settled 
in her dressing-room, 
feeling low. 

" Maybe the altitude 
up there affected me," 
she said ; " but say, do 
vou ever wonder what 
Life's all about, any- 
way?" 

I agreed that occas- 
ionally I did. 

"Sometimes it hardly 
seems worth while to 
go on living," she con- 
tinued, moodily regard- 
ing the toe of her smart 
white kid slipper. 

"Why worry?" I re- 
marked. 




She's all Oriental when in 
her native background, but 
with Americans she be- 
comes one of them im- 
mediately. 



"(^\h, I don't know," Anna May sighed restlessly. 

^'Tm pretty tall for a Chinese girl, you know," she 
added. " It always seems to hand a director a shock 
when he sees me for the first time. They all have the 
idea I should be about four feet tall. I guess most of 
them don't know that the people from the North of 
China aren't small." 

Anna's parents came from there. She was born, 
though, in Los Angeles. 

" But not in Chinatown," she told me. " I never 
lived down there. My father has a laundry. I'm not 
ashamed of thaf. He sold it once, but bought it back 
again. He said he'd die inside a year if he didn't 
have something to occupy his mind, so he might as 
well have his laundry, I guess." 

" Do your parents dislike having you work in the 
studios?" 

" Oh, they didn't like it at first," said Anna May. 
" But my father has given up trying to rule me, now. 
A Chinese man does absolutely rule his family, you 
know. Sometimes I wonder how my mother can 
stand it to ' yes ' my father all the time. Believe me 
— nothing like that for me ! 



" Funny — the way I got into 
pictures. I'd always been crazy 
about them, ever since I was a 
little kid. Used to go to movie 
shows every chance I got. My 
father told my teachers to 
punish me every time they 
caught me doing it, but that 
didn't stop me. I remember fol- 
lowing a Ruth Roland serial 
once. I guess I got whipped 
after each instalment. 

"One day a friend took me out 
to one of the studios. Marshal! 
Neilan was making Dinty. He 
asked me to come to work the 
next day. Can you beat it?" 
queried Anna. " It was just like 
a story. I've worked in pictures 
ever since." 

" You're happiest in the studio 
environment, among Ameri- 
cans?" I asked her. 

" I — I couldn't give up my 
work, to live the life of an 
average Chinese woman, if that's 
what you mean," she said. " I 
couldn't be happy married to a 
man who'd make me do that. 
Not long ago I visited some 
Chinese friends in San Fran- 
cisco. Say, the women didn't do 
anything but sit around and talk 
about their husbands and babies, 
and their housework. I couldn't 
live such a narrow life." 

I was satisfied. Anna May 

Wong is as American as she 

appears to be. Keen, 

ambitious and 

abreast of the 

times. 

H.C. 



o 






s 



II 



<: 



N 



▲f V> 




Anna May de- 
clares she will 
never give up her 
work and live the 
life of an^rdinary 
Chinese woman. 



14 



Pict\ire s end Picture $ver 



FEBRUARY 1925 




Illustrated by photographs from the P aramaimt film of the same title. 



At the very beginning of the tale 
there comes a moment of puzzled 
hesitation. One way of approach 
is set beside another for choice, 
and a third contrived for better choice. 
Still the puzzle persists, all because the 
one precisely right way might seem — 
shall we say intense, high keyed, 
clamorous? Yet if one way is the only 
right way, why pause? Courage! 
Slightly dazed, though certain, let us be 
on, into the shrill thick of it. So, 
then 

Out there in the great open spaces 
where men are men, a clash of primi- 
tive hearts and the coming of young 
love into its own ! Well had it been for 
Estelle St. Clair if she had not wan- 
dered from the Fordyce ranch. A 
moment's delay in the arrival of Buck 
Benson, a second of fear in that brave 
heart, and hers would have been a fate 
worse than death. 

Had she not been warned of Snake le 
Vasquez, the outlaw — his base threat to 
win her by fair means or foul? Had 
not Buck Benson himself, that strong, 
silent man of the open, begged her to 
beware of the half-breed? Perhaps she 
had resented the hint of mastery in Ben- 
son's cool, quiet tones as he said, " Miss 
St. Clair, ma'am, I beg you not to 
endanger your welfare by permitting 
the advances of this viper. He bodes 
no good to such as you." 

Perhaps — who knows? — Estelle St. 



Clair had even thought to trifle with 
the feelings of Snake le Vasquez, then 
to scorn him for his presumption. 
Although the beautiful New York 
society girl had remained unsullied irt- 
the midst of a city's profligacy, she still 
liked " to play with, fire," as she laugh- 
ingly said, and at the quiet words of 
Benson — " Two-Gun Benson " his com- 
rades of the border called him — she had 
drawn herself up to her full height, 
facing him in all her blond young 
beauty, and poured adorably as she 
replied, " Thank you ! But I can look 
out for myself." 

"Yet she had wandered on her pony 
farther than she meant to, and was 
not without trepidation at the sudden 
appearance of the picturesque half- 
breed, his teeth flashing in an evil smile 
as he swept off his broad sombrero to 
her. Above her suddenly beating heart 
she sought to chat gaily, while the quick 
eyes o^f the outlaw took in the details 
of the smart riding costume that 
revealed every line of her lithe young 
figure. But suddenly she chilled under 
his hot glance that now spoke all too 
plainly. 

" I must return to my friends," she 
faltered. " They will be anxious." But 
the fellow laughed with a sinister leer. 

" No — ah, no, the lovely sefiorita will 
come with me." he replied; but there 
was the temper of steel in his words. 



KtOrs oft£e 

o Movies 

bu HARRY LEON WILSON 

The serial rights of this famous story, which has won 
world-wide success in play and film form, has been 
acquired by the PICTUREGOER. Kinema enthusiasts 
will find it the most joyous story ever written of the 
magic land that lies behind- the silver sheet. 

For Snake le Vasquez, on the border, 
where human life was lightly held, was 
known as the Slimy Viper. Of all the 
evil men in that inferno, Snake was the 
foulest. Steeped in vice, he feared 
neither God nor man, and respected no 
woman. And now, Estelle St. Clair, 
drawing-room pet, pampered darling of 
New York society, which she ruled with 
an iron hand from her father's Fifth 
Avenue mansion, regretted bitterly that 
she had not given heed to honest Buck 
Benson. Her prayers, threats, entreaties, 
were in vain. Despite her struggles, 
the blows her small fists rained upon the 
scoundrel's taunting face, she was borne 
across the border, on over the mesa, 
toward the lair of the outlaw. 

"Have you no mercy?" she cried 
again and again. " Can you not see 
that I loathe and despise you, foul fiend 
that you are? Ah. God in heaven, is 
there no help at hand?" 

The outlaw remained deaf to these 
words that should have melted a heart 
of stone. At last over the burning plain 
was seen the ruined hovel to which the 
scoundrel was dragging his fair burden. 
It was but the work of a moment to 
dismount and bear her half-faintintr 
form within the den. There he faced 
her, repellent with evil intentions. 

" Ha, sefiorita, you are a beautiful 
wildcat, yes? But Snake le Vasquez will 
tame you! Ha ha!" he laughed care- 
lessly. 

With a swift movement the beautiful 
girl sought to withdraw the small silver- 
mounted revolver without which she 
never left the ranch. But Snake le 
Vasquez with a muttered oath was too 
quick for her. He seized the toy and 
contemptuously hurled it across his vile 
den. 

" Have a care, my proud beauty !" he 
snarled, and the next moment she was 
writhing in his grasp. 

Little availed her puny strength. 
Helpless as an infant was the fair New 
York society girl as Snake le Vasquez, 
foulest of the viper breed, began to 
force his attentions upon .her. The 
creature's hot kisses seared her defence- 
less cheek. 

"Listen!" he hiss-ed. "You are 
mine, mine at last. Here you shall 
remain a prisoner until you have con- 
sented to be my wife." All seemed, 
indeed, lost. 



FEBRUARY 1925 



Picture s and Pichure puer 



15 



"Am I too late, Miss St. Clair?" 

Snake le Vasquez started at the quiet, 
grim voice. 

" Suprisli !" he snarled. " You !" 

"Me!" replied Buck Benson, for it 
was, indeed, no other. 

"Thank God, at last!" murmured 
Estelle St. Clair, freeing herself from 
the foul arms that had enfolded her 
slim young beauty and staggering back 
from him who would so basely .have 
forced her into a distasteful marriage. 
In an instant she had recovered the St. 
Clair poise, had become every inch the 
New York society leader, as she replied, 
" Not too late, Mr. Benson ! Just in 
time, rather. Ha ha ! This — this gentle- 
man has become annoying. You are 
just in time to mete out the punishment 
he so justly deserves, for which I shall 
pray that Heaven reward you.'' 

She pointed an accusing finger at the 
craven wretch who had shrunk from 
her and now cowered at the far side 
of the wretched den. At that moment 
she was strangely thrilled. What was 
his power, this strong, silent man of the 
open with his deep reverence for pure 
American womanhood? True, her 
culture demanded a gentleman, but her 
heart demanded a man. Her eyes 
softened and fell before his cool, keen 
gaze, and a blush mantled her fair 
cheek. Could he but have known it, 
she stood then in meek surrender before 
this soft-voiced master. A tremor 
swept the honest rugged face of Buck 
Benson as heart thus called to heart. 
But his keen eyes flitted to Snake le 
Vasquez. 

" No, curse you, viper that you arc, 
you shall fight me, by heaven ! in 
American fashion, man to man, for, 
foul though you be, I hesitate to put a 
bullet through your craven heart." 

"Phe beautiful girl shivered with new 
apprehension, the eyes of Snake le 
Vasquez glittered with new hope. He 
faced his steely-eyed opponent for an 
instant only, then with a snarl like that 
of an angry beast sprang upon him. 
Benson met the cowardly attack with 
the flash of a powerful fist, and the 
outlaw fell to the floor with a hoarse 
cry of rage and pain. Buthe was quickly 
upon his feet again, muttering curses, 
and again he attacked his grim-faced 
antagonist. Quick blows rained upon 
his defenceless face, for the strong, 
silent man was now fairly aroused. He 
fought like a demon, perhaps divining 
that here strong men battled for a good 
woman's love. The outlaw was proving 
to be no match for his opponent. Aris- 
ing from the ground where a mighty 
blow had sent him, he made a lightning 
effort to recover the knife which Ben- 
son had taken from him. 

' Have a care !" cried the girl in 
quick alarm. " That fiend in human 
form would murder you !" 

But Buck Benson's cool eye had seen 
the treachery in ample time. With a 
muttered " Curse you, fiend that you 
are!" he seized the form of the outlaw- 
in a powerful grasp, raised him high 



aloft as it he had been but a child, and 
was kbonl to dash him to the ground 
when a new voice from the doorway 
froze him to immobility. Statue-like 
he stood there, holding aloft the now 
still form of Snake le Vasqui/. 

The voice from the doorway betrayed 
deep amazement and the profoundest 
irritation : 

" Merton Gill, what in the sacred 
name of Time are you meanin' to do 
with, that dummy? For the good land's 
sake ! Have you gone plumb crazy, or 
what ? Put that thing down !" 

""The newcomer was a portly man of 
middle age dressed in ill-fitting black. 
His grey hair grew low upon his brow 
and he wore a parted beard. 

The conqueror of Snake le Vasquez 
was still frozen, though he had instantly 
ceased to be Buck Benson, the strong, 
silent, two-gun man of the open spaces. 
The irritated voice came again : 

" Put that dummy down, you idiot ! 
What you think you're doin' anyway? 
And say, what you got that other one 
in here for, when it ought to be out 
front of the store showin' that new line 
of gingham house frocks? Put that 
down and handle it careful ! Mebbe 
you think I got them things down from 
Chigaco just for you to play horse with. 
Not so. Not so at all ! They're to 
help show off goods, and that's what 
I want 'em doin' right now. And for 
Time's sake, what's that revolver lyin' 
on the floor for? Is it loaded? Say, are 
you really out of your senses, or ain't 
you? What's got into you lately? Will 
you tell me that? Skyhootin' around in 
here, leavin' the front of the store un- 
pertected for an hour or two, like your 



tune was your own. And don't tell me 
you only been foolin' in h«re for three 
minutes, cither, because when 1 come 
back from lunch just now there was 
Mis' Leffingwell up at the notions 
counter wanting some hooks and eyes, 
and she tells me she's waited there a 
good thutty minutes if she's waited one. 
Nice goin's on, 1 must say, for a boy 
drawin' down the money you be ! Now 
you git busy ! Take that one with the 
gingham frock out and stand .her in 
front where she belongs, and then put 
one them new raincoats on the other 
and stand him out where he belongs, 
and then look after a few customers. 
I declare, sometimes I git clean out of 
patience with you ! Now, for gosh's 
sake, stir your stumps!" 

" Oh, all right — yes, sir," replied 
Merton Gill, though but half respect- 
fully. The " Oh, all right " had been 
tainted with a trace of sullenness. He 
was tired of this continual nagging and 
fussing over small matters; some day 
he would tell the old grouch so. 

And now, gone the vivid tale of the 
great out of door, the wide plains 
of the West, the clash of primitive- 
hearted men for a good woman's love. 
Gone, perhaps, the greatest heart pic- 
ture of a generation, the pictureatwhich 
you laugh with a lump in your throat 
and smile with a tear in your eye, the 
story of plausible punches, a big, vital 
theme masterfully handled— thrills, action 
beauty, excitement — carried to a sensa- 
tional finish by the genius of that ster- 
ling star of . the shadowed world, 
Clifford Armytage, once known as Mer- 
ton Gill, in the little hamlet of Sims- 
bury, Illinois, where for a time, ere yet 




" You fiend'." he muttered, and contemptuously smote the cynical face with an open 
hand. Snake le Vasquez remained indifferent to the affront, smiling insufferably 

across the slumbering street. 



16 



Picture 5 and Picture $ver 



FEBRUARY 1925 



he was called to screen triumphs, he 
served as a humble clerk in the so- 
called emporium of Amos G. Gashwiler 
— Everything For The Home. Our 
Prices Always Righ.t. 

Merton Gill — so for a little time he 
must still be known — moodily seized 
the late Estelle St. Clair under his arm 
and withdrew from the dingy back 
store-room. Down between the counters 
of the emporium he went with his fair 
burden and left her outside its portals, 
staring from her very definitely lashed 
eyes across the slumbering street at the 
Simsbury post office. She was taste- 
fully arrayed in one of those new 
checked gingham house frocks so 
heatedly mentioned a moment since by 
her lawful owner, and across her chest 
Merton Gill now imposed, with no 
tenderness of manner, the appealing 
legend, " Our Latest for Milady; only 
$6.98." 

He returned for Snake le Vasquez. 
That outlaw's face, even out of the pic- 
ture, was evil. He had been picked for 
the part because of this face — plump, 
pinkly-tinted cheeks, lustrous, curling 
hair of some repellant composition, eyes 
with a hard glitter, each lash distinct 
in blue-black lines, and a small, tip- 
curled black moustache that lent the 
whole an offensive smirk. Garbed now 
in a raincoat, he, too, was posed before 
the emporium front, labelled " Rain- 
proof or You Get Back Your Money." 
So frankly evil was his mien that Mer- 
ton Gill, pausing to regard him, suffered 
a brief relapse into artistry. 

" You fiend !" he muttered, and con- 
temptuously smote the cynical face with 
an open hand. 

Snake le Vasquez remained indifferent 
to the affront, smirking insufferably 
across the slumbering street at the 
wooden Indian proffering cigars, before 
the establishment of Selby Brothers, 
Cigars and Confectionery. 

YV/ithin the emporium the proprietor 
* now purveyed hooks and eyes to an 
impatient Mrs. Leffingwell. Merton Gill, 
behind the opposite counter, waited 
upon a little girl sent for two and a 
quarter yards of stuff to match the 
sample crumpled in her damp hand. 
Over the suave amenities of this mer- 
chandizing Amos Gashwiler glared 
suspiciously across the store at his 
employe. Their relations were still 
strained. Merton also glared at Amos, 
but discreetly, at moments when the 
other's back was turned or when he was 
blandly wishing to know of Mrs. 
Leffingwell if there would be something 
else to-day. Other customers entered. 
Trade was on. 

Both Merton and Amos wore airs of 
cheerful briskness that deceived the 
public. No one could have thought that 
Amos was fearing his undoubtedly 
crazed clerk might become uncontroll- 
able at any moment, or that the clerk 
was mentally parting from Amos for 
ever in a scene of tense dramatic value 
in which his few dignified but scathing 
words would burn themselves unfor- 



gettably into the old man's brain. Mer- 
ton, to himself, had often told Amos 
these things. Some day he'd say them 
right out, leaving his victim not only in 
the utmost confusion but in black 
despair of ever finding another clerk 
one half as efficient as Merton Gill. 

The afternoon wore to closing time in 
a flurry of trade, during which, as 
Merton continued to behave sanely, the 
apprehension of his employer in a 
measure subsided. The last customer 
had departed from the emporium. The 
dummies were brought inside. The dust 
curtains were hung along the shelves 
of dry goods. There remained for 
Merton only the task of delivering a 
few groceries. He gathered these and 
took them out to the waggon in front. 
Then he changed from his store coat to 
his street coat and donned a rakish 
plush hat. 

Amos was also changing from his 
store coat to his street coat and donning 
his frayed straw hat. 

" See if you can't keep from actin' 
crazy while you make them deliveries," 
said Amos not uncordially, as he lighted 
a choice cigar from the box which he 
kept hidden under a counter. 



Merton wished to reply, " See here, 
Mr. Gashwiler, I've stood this abuse 
long enough ! The time has come to 

say a few words to you ? ' But aloud 

he merely responded : 

"Yes, sir!" 

The circumstance that he also had a 
cigar from the same box, hidden not 
so well as Amos thought, may have sub- 
dued his resentment. He would light 
the cigar after the first turn in the road 
had carried him beyond the eagle eye 
of its owner. 

The delivery waggon outside was 
drawn by an elderly horse devoid of 
ambition or ideals. His head was sunk 
in dejection. He was grey at the tem- 
ples, and slouched in the shafts in a 
loafing attitude, one fore foot 
negligently crossed in front of the 
other. He aroused himself reluctantly 
and with apparent difficulty when Mer- 
ton Gill seized the reins and called in 
commanding tones, " Get on there, you 
old skate !" The equipage moved off 




1 ' " . 4 • i 4 • I 

H latest 




If^p&f^'Ssii 



" Buck 
Benson's " 
keen eyes 
flitted to Snake 
Le Vasquez — 



FEBRUARY 1925 



Picture s and Picture puer 



17 



under the gaze of Amos, who was lock- 
ing' the doors of his establishment 

Turning the first corner into a dusty 
side street, Merton dropped the reins 
and lighted the filched cigar. Other 
Gashwiler property was sacred to him. 
From all the emporium's choice stock 
he would have abstracted not so much 
as a pin ; but the Gashwiler cigars, said 
to be " The World's Best 10c. Smoke," 
with the picture of a dissipated club- 
man in evening dress on the box cover, 
were different, in that they were 
pointedly hidden from Merton. He 
cared little for cigars, but this was a 



the bony ridgta Of the horse. Blows 
meant nothing to Dexter, but he could 
still be tickled into brief spurts of 
activity. He trotted with swaying head, 
sending up an effective dust screen 
between the waggon and a still possibly 
observing Gashwiler. 

His deliveries made, Merton again 
tickled the horse to a frantic pace which 
continued until they Beared the alley 
on which fronted the Gashwiler barn 




challenge ; the old boy couldn't get away 
with anything like that. If he didn't 
want his cigars touched let him leave 
the box out in the open like a man. 
Merton drew upon the lighted trophy, 
moistened and pasted back the wrapper 
that had broken when the end was 
bitten off, and took from the bottom of 
the delivery waggon the remains of a 
buggy whip that had been worn to half 
its length. With this he now tickled 



" Foul 

though 

you be, I 

hesitate to put a 

bullet through your 

craven heart," he cried. 



there the speed was moderated to a mild 
amble, for Gashwiler believed his horse 
should be driven with tenderness, and 
his equally watchful wife believed it 
would run away if given the chance. 

Merton drove into the barn-yard, 
unhitched the horse, watered it at the 
half of a barrel before the iron pump, 
and led it into the barn, where he 
removed the harness- The old horse 
sighed noisily and shook himself with 



relief .is the bridle was removed and a 

halter slipped over .his venerable brow. 

Ascertaining thai the barn-yard was 

vacant, Merton immediately became 
attentive to his charge Throughout 
the late drive his attitude had been one 
of mild but contemptuous abuse. More 
than once he had uttered the words " old 
skate " in terms of earnest conviction, 
and with the worn end of the whip he 
had cruelly tickled the still absurdly 
sensitive sides. Had beating availed, 
he would with no compunction have 
beaten the drooping wreck. But now, 
all at once, he was curiously tender. He 
patted the shoulder softly, put both 
armjs around the bony neck, and 
pressed his face against the face of 
Dexter. A moment he stood thus, then 
spoke in a tear-choked voice : 
" Good-bye, old pal — the best, the 
truest pal a man ever had. You and 
me has seen some tough times, old pard ; 
but you've alius brought me through 
without a scratch; alius brought me 
through." There was a sob in the 
speaker's voice, but he manfully 
recovered a clear tone of pathos. "And 
now, old pal, they're a-takin' ye from 
me — yes, we got to part, you an' me. 
I'm never goin' to set eyes on ye agin. 
But we got to be brave, old pal ; we 
got to keep a stiff upper lip — no cryin' 
now ; no busin' down." 

The speaker unclasped his arms and 
stood with head bowed, his face work- 
ing curiously, striving to hold back 
the sobs. 

For Merton Gill wasoncemoreClifford 
Armytage, popular idol of the screen, 
in his great role of Buck Benson bid- 
ding the accustomed farewell to his 
four-footed pal that had brought him 
safely through countless dangers. How 
are we to know that in another couple 
of hundred feet of the reel Buck will 
escape the officers of the law who have 
him for that hold-up of the Wallahoola 
stage — of which he was innocent — leap 
from a second-storey window of the 
sheriff's office on to the back of his old 
pal, and be carried safely over the 
border where the hellhounds can't touch 
him until his innocence is proved by 
Estelle St. Clair, the New York society 
girl, whose culture demanded a gentle- 
man but whose heart demanded a man. 
How are we to know this? We only 
know that Buck Benson always has to 
kiss his horse good-bye at this spot in 
the drama. 

Merton Gill is impressively Buck 
Benson. His sobs are choking him. 
And though Gashwiler's delivery horse 
is not a pinto, and could hardly get 
over the border ahead of a sheriff's 
posse, the scene is affecting. 

" Good-bye, again, old pal, and God 
bless ye !" sobs Merton. 

II. 
jV/Ierton Gill took his meals at the 
*■ *■ Gashwiler home. He ate his 
supper in moody silence, holding him- 
self above the small gossip of the day 
that engaged Amos and his wife. What 

(Continued on page 76). 



18 



Picture s and Pichure pu&r 



FEBRUARY 1925 



Yowk L^st Chance 

The PICTUREGOER £500 Popularity Contest is in its closing stages. Hurry up with your votes. 




Filling in the coupons should be a labour of love for 
every kinema fan, but valuable prizes will fall to those 
who know what the public wants. 

No one should know this better than the public itself. 
so consider carefully the ten stars. Think of their 
work in this film and that film, think of their films as enter- 
tainment compared each with the other, then unscrew your 
fountain pen and get to work filling in coupons. You are 
not tied down to one vote, you may send in as many as 
you please, but closing time is upon you and you will have 
to make your decision now. 

Remember your vote may turn the scale in the favour 
of your best-beloved stars, so do not be content to look on 
whilst more energetic enthusiasts carry off the spoils. And 
there is no entrance fee whatsoever. 

Last month a number of the leading kinema managers 
expressed eulogistic views on THE PICTUREGOER com- 
petition, and exhibitors everywhere are co-operating to 
make the contest a record success. Mr. F. W. Graham, 
Managing Director of Grand Amusements Ltd., Burnley. 
writes : 

" I consider THE PICTUREGOER scheme an admir- 
able one. It will arouse great interest everywhere, as it 
certainly deserves to do. I have announced the contest at 
every performance, and every patron has received one of 
your competition sheets, which have been eagerly sought 
after." 

And now, PICTUREGOER readers, it's up to you. 
Remember, Saturday, March 7th is the last day for entries, 
and, if you have not voted already, get busy at once and 
let us have your views. You may send in as many entries 
as you like but an official coupon must be enclosed with 
each attempt. 

Who is the most popular screen star? The decision 
rests with you. 

Cecil B. De Mille with a batch of competition entries. 
Every post brings huge mails like this to THE 
PICTUREGOER Offices 



Marsltall Neilan looks worried over his 

fan mail, but our competition judges say 

" let 'em all come." 



Saturday, March 7th is the last date 
for sending in your voting 
coupons, so if you are out to win 
that first prize of £250 keep an 
eye on the calendar. A record entry 
is assured and letters are pouring in 
by every post, so the judges are going 
to have a very busy time when it 
comes to registering the votes. 

All the necessary details that will 
enable you to enter this wonderful free 
popularity contest will be found in the 
advertisement pages of this issue. If 
you are a new reader of the PIC- 
TUREGOER study the rules carefully 
before filling in your coupon. 

Rudolph Valentino, Harold Lloyd, 
Ramon Novarro, Ivor Novello, Alice 
Terry, Norma Talmadge, Jackie 
Coogan, Betty Compson, Bebe Daniels 
or Gloria Swanson — which star will 
head the poll? It is for you and other 
readers of PICTUREGOER to decide, 
and the prizes will be awarded to those 
readers who are clever enough to fore- 
cast the popular vote. 




FEBRUARY 1925 



Pichure s and Picture ?uer 



19 




K-i'p Abroad 



(?MDOLPH VALENTKNO 



On this road it had 
rained and the 
inevitable dust 
had settled down 
in peace and quietude. 
The road was practi- 
cally a straight line, 
300 or 350 kilometres 
from Milan to Bologna, 
on the via Emilia. This 
is one of theold Roman 
roads. Of course, it 
is nothing like the con- 
crete roads we have 
in America, but thost 
old Roman roads are 
good roads for all 
that, and you can make 
good time on them. 
Naturally, too, there is 
not the traffic on them 
that makes motoring 
over the good roads in 
America so tedious and 
difficult. 

We stopped near 
Parma for luncheon. 
Whenever we struck a 
town, we sped through 
it. We didn't want to 
stop at any regulation 
hotels. Both of us are 
so tired of hotel food. 
We stopped, instead, at 
little wayside inns, 
where we got fresh 
spring chickens, mar- 
vellous bread, mar- 
vellous butter and mar- 
vellous wine. 

In Bologna, I had my first 

accident. Fortunately for 
me, it turned out to be 
humorous rather than 
serious. When we got to 
Bologna, we went through 
the town, and it was just 
at sunset that we arrived at 
the piazza. There was a tele- 
graph pole there, and the 
telegraph pole was in the shade. The 
pole was painted a greyish colour, the 
same as the ground, and I was just 
crawling along ("for a change), looking 
around, when Natacha said loudlv, 
" LOOK OUT ! LOOK OUT !" 

I said blankly, " WHERE?" 

And, so saying, / was into the pole ! 

I only bent the fender, but I got sore 
because it was my only accident, and 
what with all the criticism of my driv- 
ing, I was sort of pridefully bent upon 
achieving a record for myself. It 



* » is 



■ 




never rains but it pours. I had another 
little accident the same day. I must 
have been more than ordinarily day- 
dreaming, or scenery-blind. For, as we 
were going along one of the country 
roads, I ran right into a little cart with 
an ancient crone driving it. I did no 
harm at all as a matter of fact. And 
in common justice to myself and 
my own skill at the wheel, I must 
record that this especial circumstance 
was the fault of another autoist, and 
not mine. He came steaming along 



behind me. I tried to 
avoid him sharply, 
skidded, and ran into 
the old lady's small cart. 
I hit the side of the cart 
with my first wheel. 
The old woman started 
cursing me in Italian. 
She may be there curs- 
ing me yet. And if her 
vocabulary of profanity 
and ferocity of her 
anger arc any omens, 
she probably is. 

One of the delights 
of motoring in Italy is 
that the country 
changes with every pro- 
vince you enter. The 
customs change. The 
types of people change. 
The way they dress 
changes. Even the breed 
of animal changes. 

I7verything. As we en- 
tered Tuscany, we 
noted these things par- 
ticularly. I am ever on 
the lookout for animals, 
which so nearly became 
my lifework, and here I 
pointed out a bull with 
very long horns and of 
a peculiar, greyish- 
white colouring. We 
met a cart with two of 
these bulls on the road 
and I stopped and had 
my picture made be- 
tween the two of them. 
It was growing late 
by this time and we 
kept going steadily 
after this brief stop, because 
I had to cross the Appenines. 
They are even worse than the 
Alps. In the Alps there are 
not the short hairpin turns 
that onefinds in the Appenines. 
I couldn't enjoy very much of 
the scenery. My scenery con- 
sisted in the wheel of the car 
and keeping my eye strictly 
upon the stretch of road immediately 
before me. 

We finally arrived in Florence at 
eleven o'clcck at night, covered with 
layers of thick, white dust and utterly 
exhausted. 

Of Florence, city of lovers and Art, 
I shall write to-morrow! 

My arrival in Florence was not what 
one would describe as living up to that 
beautiful city. 

It is another spot on this earth where 
one should arrive either on wings, so 



20 



Picture s and Pichure puer 



FEBRUARY 1925 



me for was my handiness 
about the .house. 

What we really shopped 

for in Florence more than 

other thing's, were 

books. Costume 

books. We had 

heard that 

there were 

rare finds 

to be had 




we found only after a really exhaustive 
search. 

Some day we are coming back to 
spend a considerable period of time in 
Florence. It would be like paying a 
beautiful woman a curt compliment and 
then turning one's back, to say some- 
thing about Florence unless one could 
say a great deal. 

Leisure is needed for Florence. To 
hurry through the city is to annihilate 
the impressions one should get. On 
the morning of September fifth we left 
Florence early for the ride to Rome. 

It was raining like blazes, if there is 
such a thing. And in such a state we 
started off, stopping for luncheon at 
one of those small villages right in the 
province where Chianti is made. 

From there, warmed by the Chianti, 
we proceeded. I wanted to make Rome 
by afternoon, but I couldn't do it on that 
road. There wer too 
many turns and sharp 
corners and while I might 
have achieved the feat had 
I been alone Auntie and 
Natacha had me pretty well 



A snap 
taken at the 
Coliseum, Rome 



to speak, or glide gracefully in in a 
scenic attitude. 

One has no idea how difficult it is to 
be scenic with fourteen pieces of lug- 
gage strapped (rather precariously) to 
a dusty car. I had upon my arrival in 
Florence two automobile trunks on each 
side of the fender, on the top of the 
car were six valises, two hat boxes and 
then a .huge leather steamer trunk, 
three cameras and all the utensils I 
night have required (but really didn't 
very much) to tinker with the car, if 
tinkering became a dire necessity. 

"VY/e managed the best way we could 
that first night in Florence, and in 
the morning, with a gusty sigh of relief, 
I had the car thoroughly washed, 
greased and so on. I must say that I 
attended to necessary details before I 
gave any attention whatsoever to the 
beauties of the beautiful, feminine city. 
I even stood around and supervised the 
car's grooming, and couldn't help preen- 
ing myself a bit before the mechanics 
by telling them the trip we had made, 
the rate of speed we had made it at, and 
the comparatively little trouble I had 
had. 

While in Florence we went about and 
did some shopping that we needed. Not 
the romantic thing to do in Florence, I 
fear, but even as with poetry so it is 
with the allied mistress, Romance. One 
puts them off and on hkt bright vest- 
ments only to be donned at certain 
hours for particular occasions. Natacha 
tells me that I can be the most practical 
man under the sun, and I well remem- 
ber that one of the things she first liked 



iff 





down in that 
section of the 
town known 
as Lungarno. 

That, by the 
way, is where 
Dante used to 
parade in days 
gone by. The 
we.ll - known 
tableau pic- 
ture of the 
meeting of 
Dante and 
Beatrice took 
place on just 
that spot. On 
the cold stones 

we tread to-day an immortal love had 
birth. I felt as though my feet were 
pressing the rich aromas from the very 
stones. 

VY/e are always on the look-out for 
costume-books, because you never 
can tell when you are going to need 
them. In picture work, where, with any 
picture one may be called upon to dip 
back into periods only too little familiar 
to have a collection of these books is, I 
think, invaluable. Both Natacha and I 
feel very strongly about authentic de- 
tail. Many a whole is marred because 
of incongruities that peer out and strike 
one like wrong notes struck in a sym- 
phony. 

We found, in Lungarno, one par- 
ticular book first published in 1500, with 
sketches of oriental costumes of that 
period. A very rare book. Almost im- 
possible to find. This particular thing 



m 





trained a 
amenable 
this time. 

I facetiously 
observed that Rome was not reached in 
a day, and Natacha said that she very 
devoutly hoped NOT. 

And so. about ten o'clock at night. 
we drove up to the very best hotel in a 
small village and then I set about find- 
ing a garage. 

Onally, after a long search, and after 
waking up three or four families 
(ten o'clock is the middle of the night 
there), we found a stable, a little larger 
than the others, and so we could put the 
car up. 

Oh, yes, before putting up for the 
night, we went by Siena, and as we 
went by we saw an antique shop which 
somewhat attracted our attention, as 
antique things (and persons) always do. 



FEBRUARY 1925 



Pictures and PichjreOuer 



21 



We stopped, went inside, and were lucky 
enough to find at this place and at :t 
ridiculous price a marvellous period 
copy of Anne of Cleves by Holbein. 
There are only two originals extant and 
this is one of them. All the others were 
burned in the collection at Windsor 
Castle at the time of the fire there. Our 
copy is almost quite priceless. We were 
, ( s gleeful as small children would be if, 
digging one day on some small insig- 
nificant beach they should suddenly 
happen upon the treasure of Captain 
Kidd ! 

Also, in this same shop, I saw a mar- 
**■ vellous saddle tree of the thirteenth 
century, all .hand-carved ivory with the 
coat of arms of the Scaligeri family. 
But they wanted too much money for 
that, and with much sorrow and much 
regret I decided that I couldn't buy it. 
1 believe I shall regret my prudence 
rather than be pleased at it. 

Of course that shop in Siena lost us 
more time and I had to pay for the 
pleasure by seeking out the unknown 
quantity of a garage by the reluctant 
light of a moon all but unavailing 
struggling with the rain. 

The next morning:, early, we left our 
rather ambiguous quarters, got the car 
and drove straight, and without mishap, 
to the Excelsior Hotel in Rome. 

When we arrived there we just 
rested. 

We were tired from the long journey, 



The Roman cattle-iruirkets, with 

their hustle and queer types and 

customs interested Rudy 

keenly. 



Count Cine, Secretan ol the Unione 

We had dinner and talked about pic- 
tures, art, that sort of thing. Naturally 

they were tremendously interested in 

how we do thing* in America, and 
asked innumerable questions about 

studio production, tin- scenario end of 

it all, the star system, the exhibitor, 

cameras, everything. They were also 

interested m my own career, and OHCC 

again I told the story of my beginning 

with its subsequent falls and rises. A 
great many falls, too ! 



restive feet The < li« k of th< i son ra, 

the vernacular of the studio world, even 
though in a language I had never heard 
it in, made my blood tingle and my 

palms neb. I felt like turning right 

about face ami rushing hack to An 
, shouting, " 1 .un ready! I am ready! 
Let's gO '" 

On my way back from the full sur- 
vey, Hani Jannings was there and we 

bad sonic pictures taken with him and 

with Commendatore Ambrosio who 
owns the film company, and who pro- 





A photo taken on one of the " Quo Vadis " sets in 
Ambrosio studios. Emit Jannings and Commendatore 
Ambrosio, the producer of " Cabiria," are seen with 
the Valentinos. 




— % 



the hotel was comfortable and we 
reclined through most of the afternoon, 
having both luncheon and tea served 
in our rooms. 

In the evening I had dinner at the 
hotel with Baron Fassini, who was very 
much interested in motion pictures 
years ago, before the ones who are 
interested in them now had made them 
what they are. 

Ijaron Fassini was formerly Presi- 
dent of the Unione Cinematografica, 
Italiana. With Baron Fassini was 



We mad* a date 
to go the next day 
to see the Quo 
Vadis sets, and 
so, this morning, 
we went to Fas- 
sini's apartment 
in the Palazzo 
Titoni, where he 
has the first floor. 
Mussolini, by the 
way, lives on the 
second floor and 
they are great 
friends. 

Count Cine came 
for us and we 
drove over to the 
Villa Borghesc 
where most of 
their big open-air sets are made. Their 
studios are too small to contain the 
sets they need for big productions. They 
were shooting some scenes when we 
arrived and the sets were very lovely. 
I saw some of the big mob scenes made 
and really, it made by mouth water ! 
I felt as they say an old-time actor 
feels when, after a long period of in- 
activity, he gets the smell of grease- 
paint in his nostrils again. Or as a 
race horse feels when the smooth run 
of the track is once again under his 




duced Cabiria and later merged with the 
Unione. 

We met Mrs. Jannings, who speaks 
excellent English. Jannings does not 
speak English. Not one word of it. 
He was born in America, but was taken 
to Berlin when only six. His wife is 
English, and notwithstanding that he 
speaks German and I not one word of it, 
we got along famously. 

Everything we wanted to say to one 
another we managed to say and be 
mutually and perfectly understood. 
Everyone was surprised at our fluent 
conversation and the interchange of 
ideas, theories, ipinions and questions. 

After we had had the pictures taken 
we went all over the sets with Jannings. 
Then we went and had luncheon. The 
Commendatore Ambrosio, Mr. and Mrs. 
Jannings, the two directors who are 
directing Quo Vadis, Signor Jacobi and 
Gabriele d'Annunzio, son of the famous 
romancer and poet. 

Among other things that took place 
during this conversation between Jan- 
nings and I w-as Jannings asking me if 
$2,000 a week, was a good price for a 
character actor in America. I said, 
" Between $2,000 and $2,500, they are 
fair figures and a good man ought to 
get about that." 



22 



Pictures and P/'c/\jrepoer 



FEBRUARY 1925 



"For God's sake, shut up!" begged 
Ambrosia, " don't tell Jannings that !" 

But I replied that actors always stick 
together, it is a part of the ethics of 
this so ethical profession ! 

Jannings was very enthusiastic about 
America. He wanted to find out all 
about it, and I told him, among other 
things, how popular he is there. I told 
him how splendidly Passion had gone 
over, and also Deception. He was as 
pleased as a child. He quite beamed 
with pleasure and delight, and it was 
nice to see that delight so mirrored on 
the face of Mrs. Jannings, the tribute 
might well have been made direct to 
her. 

HPhen I asked him how he had 
visualised that splendid make-up for 
Henry the Eighth. He told me that he 
had got hold of the Holbein painting 
of Henry the Eighth, put it on his dress- 
ing table, and made up accordingly. He 
became, he said, as familiar with that 
famous painted figure as he might be 
with an intimate friend, whose every 
detail of costume, whose every shading 
of colour and line of expression was 
habitual and familiar to him. 

I know that many people wonder, and 
ask, whether screen actors are the same 
off the screen as they are, or appear to 
be on the screen. I think it is like most 
questions, largely a matter of the in- 
dividual. Some of us are the same off 
the screen as we seem to be on, and 
others are quite surprising. Jannings 




Three specimens of Italian street 

I would call surprising. Off the screen, 
he is different from what I, personally, 
had imagined. Quite unassuming. Very 
good-natured. A man of about 42 or 
43. Very big and husky. But looking 
at him without his make-up you would 
never realise that he is the splendid 
actor you have seen playing; Louis 
Fifteenth, Henry Eighth and Peter the 
Great. He has none of that dash lie 
has so admirably and unforgettably on 
the screen. His outstanding character- 
istic seemed to me to ho his good nature 
and a great sense of humour. 

I told him that in America they call 



him " King of Motion Pictures." He 
couldn't quite understand me, for the 
first time, and Mrs. Jannings explained 
it to him. He told his wife that what 
I was telling him was the greatest com- 
plement he had ever received in his life 
and he made the most perfect " retort 
courteous " by having her tell me that 
he was immensely pleased to have re- 
ceived this compliment from the " King 
of Screen Lovers " ! 

Gallant, too, you see. I must write 
more about him to-morrow. 

Rome, Sept. 8th. 

""There is probably 
nothing in the 
world more interest- 
ing than talking 
" shop" with a man 
who is in the same 
" shop " with one- 
self. 

Thus it was that 
Emil Jannings and 
I talked Screen . . 
Screen .... 
Screen .... 

He had seen 
The Four 
Horsemen, al- 
though he has 
never been in 
America. As I 
recall it, I 
think he said 
that he saw it 



Rudolph Valentino's 
the Coliseum, Rome, 
is one spot of the ea 

in Paris. He was 
tremendous- 
ly interested in the 
making of the film, 
in the remarkable 
way in which the 
film made me, and 
in all the details 
that led to my ob- 
taining the part, 
my interpretation 
of the part once T 
did obtain it, etc. I 
told him how I 
read the book by 
Ibanez, and then 
simply lived the 
character for the 
weeks preceding the actual filming of 
the story. We agreed that the finest 
results are obtained by an actor enter- 
ing into the skin of the role he is about 
to interpret. 

nriie restaurant is in the ancient villa 
and from where we sat we could 
see the whole panorama of Rome, a 
most gorgeous sight from that vantage 
point. 

After luncheon, Jannings had to get 
to work and so he left us to the care of 
Anibrosio, who took us around to see 
the interiors. 




musicians. 



imagination was thoroughly captured by 
near which this picture was taken. " It 
rth," he remarked, " of which lovers love 
to dream." 

They have ten or twelve studios in 
Rome, all very small saving the Cinesc 
studio. The others do not amount to 
anything at all, judged from our Ameri- 
can standpoint, or, indeed, any stand- 
point at all. They have no lighting: 
to speak of. They have no equipment. 
Their laboratories are very bad indeed, 
and there is, in fact, none of the modern 
equipment we have in America at all. 

A mbrosio himself said to me that what 
^^ they lack most of all is not only 
improved studio conditions, but direc- 
tors. " If," he said, " we only had the 
directors you have in America. Our 
directors are nothing. It hampers us 
more, really, than anything else in 
developing: such talent as we have." 

On the way back to our hotel, we 
drove a bit through Rome, and learned 
that in the past thirty years or more 
many important changes have been 
effected, especially from the point of 
view of health and sanitation. 

There are new thoroughfares, wider 
streets almost everywhere, and there 
has been quite a general demolition of 
the old-time slums. This, in conjunction 
with the general, modernised sanitation, 
has caused Rome te be one of the most 
sanitary and healthiest cities in Europe. 
(Continued on page 76.) 



FEBRUARY 1925 



Picture s and Pichjre pver 



23 




Ar\ Ope r\ Book %i& 



" Baby Peggy is one who will 
always pick out the plums of 
life," says De Sola. 

ONCE before I have 
essayed to read a 
child's face — Jackie 
Coogan's — and now I 
have Baby Peggy Mont- 
gomery allotted to me for 
careful and critical analysis. 
All this solemn pondering, 
this meticulous weighing of 
shaded adjectives, does, per- 
haps, seem a trifle pompous 
in conjunction with a sheerly 
juvenile face. 

And how to write of such 
a charming young per- 
son? Surely not with 
grave words and solemn 
dissertation ! Miss Peggy 
Montgomery deserves 
I feel, a style lighter 
than mine, more delicate 
and gallant, wearing a 
note of homage and not 
forgetting a cap of 
laughter. 

It is a remarkable 
little bead. The eyes 
are older than the 
child, and they do 
not lack penetration. 
I think they are not 
bad judges of 
character in their 
fashion. I fear, 
however, that they 
show some traces of 
susceptibility to 

bribery. A villain, 
properly armed with 
lollypops, might 
have his way. 

They are maternal, 
too. That maternal 
instinct, I think, with 
some of its wiseness and 
tolerance, some of its 
simple devotion to an 
instinctive code of sacri- 
fice and protection is not 
merely a latent trait on 
the hands of the future, 
but one that will possi- 
bly dominate in years to come. 

Of course there is mirth here, a keen 
feeling for comedy ! It is not unaccom- 
panied by curiosity, I regret to state. 

The brows are practical. They show, 
in conjunction with the eyes, some 
rather striking tendency towards quick 
spurts of temper, but this, perhaps, is 
merely the fire of the artist. Certainly 
she is generous, forgiving, and capable 
of profound remorse forhersudden little 
flares, whiete do but offset her lively 
humour. 



here 




EINT 
DE SOLA 



She is optimistic. As 
yet, certainly, she feels 
that this is the best of 
all possible worlds. 
Later, I conjecture, 
there will be enough of 
emotional force in this 
character to cause her 
to taste something 
of the brooding depths of life, but 
what else would you have? T.be mere 
comedian, untouched by a sense of 
formless tragedy, is at best a superficial 
fellow. It is sadness that marks the 
line between the great Droll and the 
mediocre one. Baby Peggy has a 
humour too vast, too, authentic, to be 
content with mere laughter alone. 

She is ever so malleable to affection, 
and she has many affections. Some 
would declare her fickle, but not I. 
In this face I can readily see that 



much of her sweetness 
is but graciousness, 
awarded as a queen 
awards, and possessing 
only the significance of 
generosity. It is but for 
the few that she feels 
deeply after all. 

I am afraid that 
there is a touch of ob- 
stinacy in the chin. 
When affection is not 
employed to persuade 
her or when, perhaps, 
her temperament is 
ruffled by those who 
are insensitive to the delicately-strung 
nature of the great artist, she may — 
she may have a faint tendency to put 
her foot down — if necessary, both 
feet "down. 

It is a singularly direct little head, 
the head of one who will probably 
always be fortunate enough to take the 
plums out of life. So many persons 
fail or famblc because they are not 
quite sure of what they want. They 
vacillate between contradictory philoso- 
phies and aims. Baby Peggy seems to 
show a very strong, a very certain 
feeling for the issues which actually 
interest her. 

In due course, idealism will be 
developed here ; already there are signs 
of its presence. There will be senti- 
ment and kindliness, and enough self- 
assurance to carry her through to her 
ultimate goal. 



24 



Pictures an d Picture poer 



FEBRUARY 1925 



M 



akir& the y&vs e\ 




orns 




i 



'11 meet you at the Algonquin." 
That phrase has probably been 
spoken by more famous mortals 
than any other sentence in the 
lexicon of language. 

Douglas Fairbanks has said it to 
Mary Pickford as they separated for 
different engagements on most of the 
many busy days that famous pair spend 
in New York. Richard Barthelmess 
has made countless such appointments 
with his wife, Mary Hay. Every 
motion picture and dramatic critic and 
noted writer and journalist in the city 
or on a visit to the city has remarked 
it now and again to an equally dis- 
tinguished friend. 

"The Algonquin Hotel, West Forty- 
Fourth Street, New York City, is 
the unofficial home and meeting place of 
most of those who bear the names the 
world knows. Moving picture stars, 
stage players, writers — all know the 
place, have made it a deep-rooted habit. 
There arc. innumerable more preten- 
tious, richer, and more " fashionable '' 
hotels in the city. But the Algonquin 
faith remains unshaken. 

The reason is clear. It is Frank 
Case. 

Twenty-two years ago Mr. Case 
came to the Algonquin in a minor 
capacity. To-day he owns the lease on 
the building, is proprietor and host. 



When Hollywood stars come to New York on business or pleasure, they invari- 
ably stay at the Algonquin. Frank Case, seen above between Douglas Fairbanks 
and Mary Pickford makes it his business to make them comfortable, and he knows 

his job. 

He is a man of many friends. Those 
friends are the great and interesting 
ones who come to his hotel. 

Interesting people are Mr. Case's 
hobby. He smilingly admits it. " I 
am a lion hunter," he says. His hotel 
is his trap and — though he perhaps 
would not admit to this — he himself is 
the bait. 



At luncheon on a single day one 
might see scattered about one of the 
small and receptive dining rooms such 
celebrities as Richard Barthelmess. 
Rudolph Valentino, John Drew, Claire 
Windsor, Heywood Broun, noted 
columnist and dramatic critic of the 
Ncic York World, and a dozen others 
of nearly equal prominence. Nor 
would it be a legal holiday or old home 
week or a convention. Any day at all 
would do. It is the fashdon among 
those who arc above fashion, the 
established custom of those who are 
too wise tor most established customs. 

Frank Case was loath to talk when 
we called upon him. He received us, 
was cordial, but was reserved. He 
seemed on the defensive. 

" You know," it came at last, " I'm 
afraid to have things written about the 
Algonquin. People are so apt to associ- 
ate it with the tawdryness and cheap- 
ness which goes with the term 
'theatric hotel.' It isn't that." 



Our eyes wandered over the empty 
lobby — it was mid-afternoon — rested on 
the panelled walls, the delicately com- 
fortable blue arm chairs and couches, 
the soft, inconspicuously-toned rugs. 
We relaxed in the peaceful welcome 
the room bespoke. 

" Rather not !" 

" It is hard for people to under- 
stand," he said. " These people come 
here. They have come here for many 
years. But — but they are my intimates. 
They aren't simply interesting people 
on parade. I know them. Why, I've 
known Fairbanks for fifteen years or 
more. Known him intimately. And 
William Farnum . . . people like that. 
John Barrymore. And all these writing 
chaps." 

" UVicndships. of course . . . but the 
association the Algonquin has? Its 
name as a gathering-place of interest- 
ing people? Wasn't that deliberate?" 
we asked. 
" Certainly." 

" How did you go about it?" 
" Why. I really don't know exactly. 
For instance : Joseph Hergeshoimer, 
who wrote ' Cytherea,' ' The Bright 
Shawl,' and the rest — they've been 
movies as well as books — came here 
once in a crowded season. There 
wasn't a room in the house. It put 
him in rather a hole, for before he'd 



FEBRUARY 1925 



Pierre s an d Pichjre $uer 



25 



arrived in town he had made a Dumber 
of business appointments which used 
the Algonquin as an address. The 

clerk couldn't help him. Was sorry, 
hut such was the situation. 1 was called 
into consultation. Mr. Efergesheimer 
told me his name. That settled it. Mr. 
Her^esheimcr wasn't simply a traveller 
in serious need ot" a place to sleep. He 
was the man whose books had given me 
so many hours of pleasure — who had 
already won my esteem, and, 1 in i_\ say 
' friendship with his work. Well . . . 
he got a room. It can he done. 

" And I've very deliberately done it. 
First there was my natural interest and 
respect for important people — people 
who are interesting ami have done 
interesting things. Then — as an easy 
and pleasant way of combining business 
and pleasure — there was my hotel and 
the reputation which I knew it would 
cam if 'celebrities' made it their ren- 
dezvous. 



a .oiiur table with his wife, Nataeha. 

Claire Windsor usually stops at the 
Algonquin when she is not on the >• 

and Barbara La Man, altOUgh she, to.., 
can scarcely be called a " regular," is 

seen there increasingly often. 
The Algonquin dining room has a 

certain round table situated near the 
centre of the room. Here, the dis- 
gruntled say, is the board 'round which 
reputations of plays and players are 
made and broken. Here sit the New 
York newspaper critics when they fore- 
gather of a noontime or at night after 
an opening. Their clique was once 
dubbed " The Vicious Circle," and the 
name has stuck. 

Edward Goulding, the well-known 
scenario writer who helped HergeB- 
heimer put " The Bright Shawl " into 
screen form, is on hand frequently — 
often dines with Richard Barthelmess. 
" Names " abound. 




John Drew, most lamous of Ameri- 
can leading nun oj the older fenera- 
tion, and uncle "i 'hi I'.ai ryinores, has 
lived at the hoti 1 tor many wars. 

Evang< Inn Booth, ( 'mill. lander of the 
.Salvation Army, lives there, and the 

Algonquin is the official head q ua r ter! 

the Salvation Army in New York. 
The Bishop of Kansas and the 
Bishop of Michigan are friends of 
Mr. Case's and invariably stop at his 

hotel while they are I 

Frank Case has made his hotel and 
his home the home of the stars — stars 
of every firmaneiit. 

At the Algonquin each Tuesday noon 
^^ m the Green Room there meets the 
increasingly well-known " Woman Pays 
Club," a cheerful organisation of pro- 
fessional women engaged in and 
around the several arts. 

Elsie Ferguson has been a mem- 
ber for several years, and Mary 
Eaton, who played in the picture His 
Children's Children, is a member. So 
are the Gish girls. So is Mabel Ballin. 
The better known and more successful 
motion picture and theatrical press 
agents form an important group, and 
there is a distinct smattering of sculp- 
tors, painters, interior decorators and 
representatives of the other arts. 

The Algonquin has drawn them as it 
has drawn most of the other worth- 
while people of our day. 

John Vandercook. 



The lounge and dining room of the Algonquin Hotel. 

" Yes-— I am a tuft-hunter. It's my hobby. And I've 
made it my business." 

" I suppose after it first started, after Mr. Fairbanks and 
Mary Pickford, for instance, came here and let it be known 
that it was their habit to come here, the rest followed? 

" Yes. The rest was, or were, easy. But it isn't easy to 
hold them." 

That has been the brightest feather in the cap of Mr. Case. 
They have stayed. And more of " them " have come each 
season and returned again . . . New fashions in hotel — new 
skyscraper, several-million-dollar piles in the Grand Central 
district have won away some fickle famed ones — but most of 
them gravitate back to the Algonquin. It has a " pull " that 
cannot be denied. 

Mr. Case is invariably on hand. At meal hours he is to 
be found at his own special little table just within the door- 
way of the main dining room. He kno\ s a considerable 
percentage of those who come. He nods to them all. Most 
stop and exchange the " time of day " with him. 

It is here that Douglas Fairbanks and Mary Pickford 
lunch nearly every day they are in New York. Thomas 
Mcighan, who, since he has come to live permanently in New 
York is to be seen everywhere, is invariably on hand. 
\ alentino, though he is not a real habitue, often lunches at 



The Algonquin from the outside, West Forty-fourth Street, 
Ncv York. 



26 



Pictures and Pichurepver 



FEBRUARY 1925 



Modes //?£Ae 
Movies 



The Wardrobe Mistress is one of the most important 
personages in the Studio, for even the greatest of 
producers must defer to her upon questions of clothes. 

Twelve years ago, Clara Kimball Young went into a 
Broadway Kinema and watched herself act in a Vita- 
graph two-reeler wearing an evening-frock composed 
of butter-muslin and cotton lace. An hour later, she sat 
in another cinema and saw another Vitagraph picture featur- 
ing Ella Hall and the same frock ! 

Chiefly owing to the feminine fans, the dollar-a-day dress 
allowance is now as extinct as the Dodo and those early 
movie houses whose walls would quiver alarmingly when the 
heroine stamped her foot. Nowadays the wardrobe mistress 
is one of the most important personages in the studio and can 
expend as much money as she likes. .X. • 

Famous-Lasky have a special fashions bureau 
in Paris, from which the latest news regarding 
the length of a skirt or the shape of a sleeve can 
be swiftly transmitted to Hollywood. Their 
representative is often on the lawns at Ranelagh 
and Hurlingham, scanning the gowns 
displayed there with an eagle eye. 

Girls who pine to break into the 
movies, here is a tip for you ! Study 
the pros and cons of dress designing 
and take up wardrobe work. It is in- 
finitely easier to gain a footing in this 
direction than it is to fight your way to 
importance by the usual means. 

Dull, you exclaim? Not a bit of it! 






Think of the joys of concocting your 
schemes from the most beautiful and 
expensive materials, and of being con- 
sulted deferentially by the Great Pro- 
ducer whose wrath may wreck an 
actress's career. No dieting:, no worry- 



Reading downwards . 
Corinne Griffith is 
the wardrobe mis- 
tress's delight. 
Eleanor Board- 
man in one of her 
ultra-elaborate 
" Souls For 
Sale" costumes. 
Right : Ethel 
Traill dra- 
ping one of 
Norma Tal- 
m a d g e' s 
early Vic- 
torian dress- 
ing gowns. 





<4 



This black velvet and silver crcatton u>as specially designed for 
Leatrice Joy's wear in " Triumph." 



ing about your popularity returns, and 
a salary cheque just as fat as the star's, if not 
fatter ! 

With modernity assured, the main problem 
for the wardrobe mistress is to match the 
clothes with. the. part. If she's dressing May 
McAvoy or Gladys Walton for a flapper role, 
then she must concentrate on fluffy tulles and 
impertinent little hate and ultra high-heeled 



FEBRUARY 1925 

slippers worn with contrasting stock- 
ings. Thus is the suggestion of youtn 
and general frothiness subtly heightened. 
If she is planning an outfit for a 
Society bride, the designs must be con- 
servative as well as youthful. After- 
noon and evening frocks are graceful, 
trailing affairs in order to invest the 
wearer with a certain amount of dig- 
nity. Consider the clothes of Agnes 
Ayres in Bought and Paid For, or those 
which appeared with Enid Bennett in 
the latter reels of The Fool's Awaken- 
ing. 

AY/hen the picture is an accomplished 
fact, the clothes are still an asset. 
At Lasky's most prodigal of all the 
studios in sartorial matters, the 
dresses are refurbished for the 
use of extras in future produc- 
tions. Sometimes it is Only 
necessary to camouflage with some 
new drapery or a striking tie, but fre- 
quently the entire garment is torn up 
and the material cleaneo, pressed and 
re-fashioned. 

And it is whispered on the sets that 
Gloria Swanson dislikes extremely to 
see an extra player promenading about 
in a re-hash of one of the wonderful 
gowns which have graced her own fair 
shoulders. 

At Goldwyn's they believe that to 
tamper with a dress like, this destroys 
its personality. Many of their creations 
appear in several pictures, as for 
instance the gorgeous brocaded wrap 
which was worn by Mae Busch in The 
Christian and also by Eleanor Board- 
man in Soul's for Sale. 

Afterwards the clothes are sold off 
at a fraction of their value to the com- 
pany's stenographers, telephonists and 
other women workers. This probably 
accounts for it being so difficult to dis- 
tinguish between a star and a seam- 
stress during the evening exodus from 

Seamstresses and expert dressmakers carrying out 
the original designs for costumes used solely in 
the studios. 



Picr\jre s and Pichure puer 



Right: A corner of a work 
room wherein movie 
modes are made. 




Fur cloaks like 
this one abound 
in the movies. 









if 




K 




1 n^' 




A lounging robe worn by 
Claire Windsor which looks 
as though it had got the 
Cross-Word Puzzle fever 
badlv. 

Culver City, when all the Goldwyn folk 
are going home. 

Norma and Constance Talmadge, two 
of the kindest-hearted girls in Film- 
land, give their " old clothes " to the 
prop-boys and electricians to take home 
to their wives. The only exceptions to 
this rule were the excruisite period cos- 
tumes Norma used in Ashes of Ven- 
geance. 

Come few of these she presented to 
the various players by way of 
souvenirs, but the majority were care- 
fully laid away with a view to some 
future spectacle picture. 

The independent players, whose ex- 
penses come out of their own pockets 
and not from the capacious treasury of 
a wealthy Corporation, buy their 
dresses as they go along. When the 
film is complete, they ring up one of the 
wardrobe dealers whose crowded little 
shops abound in the side-streets of Los 
Angeles. 

He is only too ready to purchase any 
wearing apparel they wish to dispose 
of, for he knows he can easily sell it 
again at enormous profit. 

Hettie Ckimstead. 



28 



Pictures and Picfxirepuer 



FEBRUARY 1925 




BOB CUSTER 

A college graduate tc/io has but recently graduated into Screenland. He is 

starring ir. a scries of Western pictures, and has previously played some 

half-a-dozen cowboy roles in Harry Carey and other productions. 






FEBRUARY 1925 



Pictures and P/cnjre&oer 



."*>N 




"a** 







:~.- 



FRANCES HOWARD 

Makes her debut in pictures as the star of ' The Dark Sivan," in which 

Elsie Ferguson was to have played. She u a well-known stage player, 

who made a hit in " The Best People " in New York. 



30 



Pic Ki res end Pichjrepuer 



FEBRUARY 1925 







/ 



/ 



M^V 



\ 



W 



WILLIAM HAINES 



Runs Ben Lyon fairly close in popularity. William is usually to be found 

in flapper pictures like " Wine of Youth." His newest is " The Midnight 

Express." He has light brown hair and dark eyes. 



FEBRUARY 1925 



Ptchure s and Pichure puer 



31 




VIRGINIA LEE CORBIN 

The sunny-haired heroine of all the Fox screen pantomimes has just 

returned to filmland, aged seventeen, and prettier than ever in " The Cafe 

of Fallen Angels." Put it there, Virginia*. 



32 



Pictures and Pict\ire$oer 



FEBRUARY 1925 






< 






1 



CONWAY TEARLE 

In the costume he likes best in " The Great Divide." Conway hates being 

dolled up in fancy dresses. Regulation evening dress isn't his ideal garb, 

although he is considered one of the best dressed men in the movies. 



FEBRUARY 1925 



Pictures an d P/ct\jre$uer 



33 



Mav Allison's musquash coat shows a 
novel scalloped effect around the hem. 



creer\ 
FdsKiorx 
Plate 



* 






* < 






/ 



Jh> * : ^ 



> . 



Its deep turn-over collar lends extra 
smartness to Ailcen Pringle's cloak. 



Wfl 



•o 



> y* 



A 



2E#*. 



,tr. 



ft 



»*»*■ 



#% Mt¥ : 



ft; ■' 



rfo. 



I ;\H 



♦ if 

V 4 

V # 






■* »■■ ' I 



Beige caracul heavily trimmed with 

badger forms this magnificent wrap 

worn by Virginia Browne Faire. 



White fox and moleskin are, in Sylvia 

Breamer's case, a novel and effective 

combination. 



Mabel Forrest's elaborate Russian 

squirrel wrap with cascade trimmines 

of Coco fox. 



34 



Pictures and P'cfrjrepoer 



FEBRUARY 1925 




This is an era of new stars, 
rising triumphant from the 
motion picture ranks. 
Scores of them will grace 
the doming films of 1925, 
challenging the supremacy of the 
older favourites, and amongst 
them, scintillating as brilliantly 
as any, Margaret Livingston 
takes prominent place. 

An unusual type, Margaret — 
exceptionally pretty and attrac- 
tive beyond the average. Red 
hair, thick and lustrous, frames 
a piquant, interesting face. When 
she talks, flavouring her English 
with slang, there is an amazing 

Oval: A scene from 
Follies Girl." 



Tke Follies 
Girl 

Margaret Livingston answers to that name, because 

it was in the title role of that film she first became a 

star. 

air of life and vitality about her that almost seems to 
magnetise one to admiration. In America she is 
known to the public as " The Follies Girl," because 
it was in the title role of this film that she first came 
into the limelight. 

IWIargaret's stardom has been won through the 
medium of hard work and perseverance, for de- 
spite the breezy outward appearance, she has quite a 
talent for real hard work. She was born in Salt Lake 
City about twenty-three years ago, and in 1919 she 
came to Los Angeles with several short stories and 
a published novelette to her credit. 

On the strength of these she applied for and 
obtained a job as " title expert," at one of the 
leading studios, but she didn't hold it for long. 
A girl of her type was needed for the film 
Within the Cup, and she doffed her laboratory 
apron and stepped into the part. 

Margaret's last film before she became a star 
was Her Marriage Vow, in which she played 
with Monte Blue. She has also played in 
Wandering Husbands with Lila Lee and James 
Kirkwood, and in Divorce with John Bowers. 

E. E. Barrett. 

Three characteristic studies of Margaret 
Livingston, shoiving her extreme mobility of expression. 







FEBRUARY 1925 



Pichures and PichureQoer 



35 




In one respect that hgure of Parisian 
life, the youth called " The Hum- 
ming Bird," was a model boy. He 
was seen but not heard. If he had 
been heard, or at least heard in ad- 
vance, there might have been much 
salt sprinkled on the tail of " The 
Humming Bird." But the police were 
baffled. They were always able to 
follow his footprints — up to a point — 
after the event; but they never could 
hear his footfalls before. " The 
Humming Bird " had a huge press, but 
he sent out no advance notices 

" It seems to me," said La Roche of 
the Paris police one day, " it seems to 
me that if we are alive in a hundred 
years time, and he too, we shall still 
be looking for our little chirper. He 
has a charmed life, or a charmed 
career. How many is it now — a hun- 
dred burglaries? And not once have 
we got near enough to him to lay our 
fingers on even his shadow. The end 
of it will be resignation for me. Dis- 
grace ! And all through a chit of a 
boy. Why, he can be no more than 
twenty. Or so those who have seen 
him vanishing in the distance assure 
me. Myself, I have r.ot yet had the 
privilege of setting eyes on my 
master." 

Dandall Carey, Paris correspondent 
of the New York Universe, was in 
La Roche's office that afternoon. 

" I reckon it would be as big a 
feather in my own cap if I were in at 
the snaring of this fellow," he mut- 
tered. " Look here, La Roche, I will 
make ycu an offer. The uniform 
admits, but it closes many doors when 
it is seen along the street. In theorv 



the police can go anywhere 
and everywhere; in prac- 
tice, no. A journalist cm 
get where the police are 
often locked out. Tell rac 
all you know, and I'll pass 
along what comes my way. 
We'll work together, and 
between us, I don't see 
why we shouldn't snare 
the beauty. You don't 
want to lose your job. 
Well, neither do I. Two 
heads arc better than one." 
" There is something in 
your notion," admitted La 
Roche. 

" And to start with, tell me 

just how I can get near to 

our bird," said Carey. 

" As near as I can tell you it 

will not be very near!" said La 

Roche, with a wry smile. " All we 

can say is that the Bird heads always 

for Montmartre, but always he seems 

to vanish there." 

" There is a place in Montmartre I 
know well," said Carey. " A thieves' 
rendezvous, Le Caveau. Perhaps you 
have heard of it?" 

"Heard of it? Searched it! But 
the Bird was not there." 

" I'll go there and find out what 
there is to be found out. Later I'll 
report to you." 



Bird 



BY JOHN 
FLEMING 



CHARACTERS. 



Toinette 
Carey 
La Roche 
The Owl - 



Gloria Swanson 

Edward Burns 

Mario Majeroni 

Mme. d'Amrricolrt 



Henrietta Rutherford 

Helen Lindroth 
Chariot - - Cesare Gravina 
Zi-Zi - - Jacques d'Auray 

Narrated by permission from the Paramount 
film of the same name. 



Many types of a certain kind of 
humanity gathered at Le Caveau. It 
was less of a kingdom of crime than 
a tiny world of crime, comprised of 
many little kingdoms. Each empire 
had its ruler, and there was no queen 
of all those queens more fascinating 
than Toinette. Toinette. . . Small, 
pretty; a girl with a way with her; 
regal. . . All heads were turned to 
regard her when she passed. In every 
way she turned all heads. 

Randall Carey found himself watch- 
her and thinking of her and envying 
the crooks and apaches who were her 
companions. To Randall Carey 
respectability suddenly presented its 
drawbacks. 

" If — " But he pulled up his 
thoughts in time; remembering some- 
one who waited for him across the 



in tar away New York. 
No mention of the "Humming Bira" 
had passed the lips of any denizen of 
that underworld since he had crossed 
its threshold an hour ago. He might 
ren ain here for a day, a year or for- 
ever and never be nearer to the truth 
about the " Humming Bird " than he 
was at that — 

I — lis thoughts jerked to pieces in the 
crash of a sudden altercation two 
tables away. A hulking brute of con- 
siderably more than six feet had 
plucked Toinette to himself and kissed 
her. At this moment she was attempt- 
ing to drag herself free, and in that 
short glance Carey could see the red 
lines swelling up on her wrist where 
the bully was holding her. With a 
tingle almost of pleasure Randall 
swung away from his table and leapt 
at the big man. His fist shot out and 
the bully disappeared beneath the 
table. And then — 

And then, as Carey himself phrased 
it afterwards, in his own way, " things 
kind of occurred." 

Carey found himself suddenly a 
prince of Toinette's empire, leading 
her forces against those of the 
enemy's. Before the bully could 
spring to his feet, a dozen of his fol- 
lowers had done as much for him, and 
soon the thick air was filled with 
thicker shouts and the futile protests 
of the proprietor. 

It was short and crisp; and in the 
end the bully's warriors strode arro- 
gantly out of the place, leaving bt/iind 
them the still form of Randal! Carey, 
with Toinette bending low above him. 

" He is not dead," she murmured, 
looking up at the faithful few who 
remained in the vicinity. " He will 
come round very soon. Get a taxi." 

Tnrestricted by the finer feel- 
ings of the ovcrworld, and with a 
touch that really had something of art 
in it, she flicked out the contents of his 
pockets and began to search his letters 
for his address. If she found more, how 
could she be called to account? 

When Randall Carey at length grew 
clear about worldly things he dis- 
covered to his considerable astonish- 
ment that he was resting in his own 
bed, with a bandage of linen tied 
round his head. He put his hand to 
his head and felt it suddenly tingle. 
He tried to remember. . . And then 
he remembered well enough, up to a 
point; but could not recall how he had 
managed to get home and put himself 
to bed. As for the bandage — 

Rather wearily he rose and dressed 
and looked uncertainly about the room. 
He sniffed and was aware of the last 
faint traces of some perfume that was 



36 



Pic hj res and Pichjrepver 



FEBRUARY 1925 



/ want no thanks," said Toinette. 




foreign to the place. Then, his senses 
quickening, he staggered to his bed- 
room door, opened it and found in his 
little sitting room, curled up asleep, 
Toinette. A big easy chair was the 
most comfortable bed available. 

"Toinette!" he cried; and she 
awoke with a start. 

"Then you are quite better?" 

" How could it be otherwise," he 
replied gallantly, " when I have you to 
thank for this." 

" I want no thanks," said Toinette. 
" Besides, are not my own thanks due 
to you for saving me from that 
elephant of a fellow?" 

" One thing puzzles me," he said. 
" No one in that frightful cave had an 
inkling of my real identity. Of that 
I am sure. How then comes it that 
when I am — er — returned damaged I 
am returned to the right depot. How 
could you know I lived here?" 

" Why," replied Toinette with a 
laugh, " that was the very easiest 
thing of all. I went through your 
pockets and found some letters with 
your address." 

" I see," said Carey gravely. 

"You are shocked?" asked Toinette, 
observing his expression. " But for 
what do you think I go to the Cave? 
To read tracts? No. Of course you 
are wise — " 

'""Toinette," Randall Carey asked many 
days later, " would you like a 
chance — a real chance to start again 
and go straight? I am speaking 
frankly. Of course I know one does 
not go to the Cave to read tracts or 
study geology. I am not going to beat 
about the bush. You are, I am sure, 
of the kind that calls a spade a spade." 
"I am a crook!" Toinette laughed, 
" but remember I found you also at 
the Cave. The pot and the pan, eh? 



Well, well, go on. What did you in- 
tend to say?" 

" Scarcely more than I have said 
already. Would you like this chance 
I have spoken of, an opportunity to 
come out of the caves for good. Be- 
lieve me, I am in a position to offer 
this chance to you?" 

Her eyes met his, and there was a 
startling tenderness in them. He felt 
a sudden tinge within him and found 
himself trying to remember — someone. 
He looked away as she replied : 

" Derhaps I will think of it. They say 
the leopard cannot change his 
spots. But did the leopard ever try, 
I wonder? It is an interesting notion. 
But all my friends are in the Cave, 
you know. In this other world you 
speak of I know no one." 

" You know me." 

" I found you at the Cave." 

"True. But I am not — shall I say? 
— a Cave man. La Roche, chief of 
the police, is one of my closest friends. 
He would look the other way for my 
sake. He would — he would refuse to 
be aware that my little friend Toinette 
had any past that needed hiding." 

She stared in frank wonder at this 
speech. 

"You would do this for me?" 

" Indeed I would."* 

" But why ?" 

" That might take too long to tell," 
he countered. " But you have not 
given me your answer." 

"You want to be — my friend?" 

" Your friend, yes. Yes. . ." 

Suddenly Toinette produced a small 
card photograph and held it before 
him. 

" When I went through your pockets 
last night," she said, " I found this. 
Who is the lady?" 

He stared at the photograph and 



then took it from her 
and put it back in his 
own pocket. 

" A lady friend of 
mine, back in New 
York, where I come 
from." 
" But who is she?" 
" She is the lady to 
whom I am engaged." 
Toinette rose and 
crossed the room to 
the door. 

" May I ask," she 
said as an after- 
thought, " what it was 
that brought you to 
that place last 
night?" 

" Not d i s - 
loyalty to this 
lady, as you 
seem to think," 
Carey replied. 
" I came, as a 
matter of fact, 
to learn some- 
thing of the 
'Humming 
Bird.' I have 
been frank with you up to now. I 
shall continue to be frank, I hope. I 
have an arrangement with La Roche. 
Together we hope to put salt on this 
little Bird's tail. You look amazed. 
But it is my business. Each to his 
calling, eh?" 

" Why, yes," said Toinette." Which 
is why I return to mine." 

" But are you sure that it is the 
thing for which you are best fitted?" 

Toinette laughed a littlf silvery 
laugh that was torture to the man. 
" Yes I am sure — now." 
" But— ?' 

" Good-bye," she said. And before 
he could speak again she was gone. 

ETor some few weeks there followed a 
still peace, a peace as ominous in 
that behind-the-scenes of the Paris 
underworld as on that wider stage of 
Europe. Carey and La Roche pur- 
sued their enquiries with unrelaxing 
persistence, but these enquiries led 
them nowhere. As far as ever were 
they from learning the truth about the 
" Humming Bird." Carey went no 
more to Le Caveau ; but across the 
ocean mail boats carried letter after 
letter until one day he thought he 
had an excuse for visiting the cave 
den again. Those were the last days 
of that fateful July of over ten years 
ago; and whilst he hesitated additional 
cause was given him for his visit. 

With the suddenness of lightning 
war spread across the continent, and 
before sunset of the first day Randall 
Carey had said good-bye to journalism. 
In the uniform of the Foreign Legion, 
unhesitating at last, he turned his 
steps towards the Cave to take fare- 
well of Toinette. 

" I wanted to say good-bye to all my 
friends," he said. And at this she 
laughed. 



FEBRUARY 1925 



Pictures and Pictvireooer 



y? 



" Does that include the whole of tht 
police force?" 

" Why, those days are gone too, 1 
am afraid," replied Carey. " 1 don't 
know that I'm sorry." 

" Not even when they ended in 
failure?" 

"You mean the 'Humming Bird?' 
Oh, of course we are as far as ever 
from probing the mystery of that 
young man. But somehow, in these 
days of turmoil, the 'Humming Bird's' 
sins seem, well — remote. How shall 
1 put it?" 

" I know what vou mean," said 
Toinette. 

" There is something else I wanted 
to tell you," Carey went on. " That 
girl whose photograph you found in 
my pocket that night you saved my 
life." 

" But—" 

" Oh, yes you did. Well, it's — it's 
all off. That little affair. I found 
out the truth in time. We all make 
mistakes, they say. She — she was 
mine." 

Lie did not meet her eyes. Had he 
endeavoured to do so he would have 
observed that her own were fixed 
wistfully but unseeing on the remote 
peak of the far-off Eiffel Tower. 

" And now about yourself," he went 
on abruptly. " This happening has 
changed the world, you know. Things 
can never be the same again. What 
is vnnr own position?" 



1 think," said loiiiettc, " 1 .shall 

do my little im by forming a battalion 
of my boyi and looking after then 
until they go away. Afterward! — 

well, who can talk ol the afterwards 
in these days?" 

Toinette was as good as her word. 
All else was abandoned tor her new 
campaign. And so well did she in- 
stil into her own apaches a novel 
patriotic fervour that soon there 
no man of her " gang " at the I 
who did not wear the uniform of his 
country. Headed by Zi-Zi, her 
fiercest lieutenant, one day they 
marched away; and Toinette was left 
alone. 

* * » 

It was a winter's night at the be- 
ginning of 1918. Mrs. Marshall 
Carey's house on the outskirts of 
Paris was shrouded in darkness, for a 
warning had just come through to the 
effect that an air raid was imminent. 
Every shutter was drawn, though 
within doors the house was cosy and 
well-lighted. In a comfortable chair, 
alone in a big room sat Mrs. Marshall 
Carey's nephew Randall, seeing pic- 
tures in the fire, wondering. . . 

Llours seemed to pass. Dull thuds 
were heard, growing nearer, retreat- 
ing. Sharp shots and hoarse cries 
were on every hand. Carey wished 
he could totter to the window and see, 
know if " they " were coming on vic- 
torious or be driving back to defeat. 
Through the chinks of the shutters he 
could see the searchlights sweeping the 
sky. And then he seemed to doze; to 
awake with a start, and think that it 
must be the pain in his wounded leg 
that had caused him to awake. 

But his leg seemed easy — easier 
than it had been for <many weeks. 
Then—? 



11' looked round, and there before 
him in the room was 1 oimtte. 
•' Your" 
' Randall!" 

i oinette I" 
Instinctively they embraced; and 

fell apart in surprise at this unsjjokcii 

confession ol love. 

" But — " he gasped when her 
blushes had subsided, " bow come you 
to be here at all?" 

" I — I saw in the newspapers that 

you were wounded ami I came 09 h< i< 
the first opportunity I had. I called 
and saw your aunt. She is a sweet 
woman, Randall. She told me when 
I arrived that you had been calling 
for me when you were very ill." 

They sat side by side and he took 
her hand. 

"\Y/eeks ago I loved you, Toinette," he 

" murmured. " Aye, months ago. I 
think I loved you, or wanted to love 
you the very first time I ever saw you. 
When I was away in the trenches I 
used to dream of you. I wrote to you, 
but perhaps my letters went astray. I 
never received a reply." 

" I never got your letters," said 
Toinette. " I — you see, I was unable 
to receive them. I have been away.'' 

" Love—" 

" Perhaps," said Toinette, " you 
should not make love to me until you 
know all. Once you asked me if I 
would like to turn over a new leaf and 
begin life afresh. I did not accept 
your offer, but I would now — unless it 
is too late. Perhaps it is too late. . ." 

" Never !" cried Carey. 

" Whit. I said that I first learnt of 
your illness, of the fact that you had 
been wounded, in the newspapers. 
But that, Randall, was seven weeks 
ago, as you must know yourself. You 
will wonder why I did not come to 

Toinette instils into her own Apaches 

something of her own patriotic 

fervour. 




38 



Picture s and Pichjre $uer 



FEBRUARY 1925 



your side sooner. I could not. I 
was in prison !" 

She hung her head, but he only 
patted her hand and stroked her hair 
as a wise parent would that of a child. 

"Well? What of it?" 

" You do not mind?" 

" Once I offered to help you. It 
was because I loved you, as you must 
have guessed. I found you in the 
Cave, Toinette, and one does not go 
to the Cave to study theology. But I 
knew that then, and I loved you then. 
Can I know more. Why should I love 
you less?" 

"E7ven so, you do not understand all," 

*-*' Toinette went on. " That I 
might be by your side I planned and 
planned to break out of gaol. But no 
opportunity offered until to-night. To- 
night in the air raid, the prison was 
hit, and my way was clear. In the 
turmoil I escaped and I came straight 
here. Perhaps that was indiscreet. 
Perhaps it was unfair to you?" 

It was delightful of you !" 

" But you don't understand even 
yet. I am — I am still a convict 
My very clothes are prison 
clothes, and at any moment 
they may come for me ! How 
can you love me, knowing 
that. We can never hold 
up our faces in public. 
If I remain free and you 
marry me how shall we 
live? Where shall we 
live? How can you 
progress in your 
career with me by 
your side? Always 
will remain that dread 
fear. Always shall we 
be waiting for that 
rough hand on the 
shoulder of — your wife. 
Randall, it is unthink- 
able." 

" So long as you love 
me," he vowed, " all will 
come well. And love me 
you must, Toinette. Say it 
Let me hear the words on your , 
own lips." 

" But — but I mustn't, Randall 
It wouldn't be right." 

"Right?" 

" To you." 

" Bah ! I have been in the trenches, 
my darling, for three long years. Do 
I care for myself any longer after 
that. I want just to take care of you. 
and—" 

" Listen !" 

Che clutched his arms in alarm, and 
^ pointed to the door. From the cor- 
ridor outside came the sound of voices 
and one of those voices fell like a cold 
hand on the hearts of both. It was 
the voice of one who was at once 
enemy and friend, the friend of the 
lover, the enemy of his beloved — La 
Roche, the chief of the Paris Police. 
"They have come for me already!" 
she whispered. 



" I must hide you !" he cried. 

" Never !" said Toinette. " At least 
I will spare you that last indignity — 
the pain of having your lover found 
hiding in your room. Let them come. 
If it is not to be — " 

Che broke off. The door opened and 
into the room came Mrs. Marshall 
Carey and La Roche. Carey flushed 
and bit his lip, and Toinette lowered 
her eyes before the official uniform of 
her enemy. 

" I am ready to come with you," she 
said in a low voice. " Believe me, 
please — Mr. Carey has acted in ignor- 
ance of — " 

" But my dear lady," La Roche 
interrupted. " I have not come to 
take the ' Humming Bird.' " 

"What!" cried Randall Carey, 
starting forward. 

"You did not know?" asked Toinette 
demurely. 

" I did not even guess." 

" But—" 

" Pardon me," La Roche broke in, 




" You," she said 

with a smile, "have 

captured the 'Humming Bird' after all." 

" but my time is limited and I mus: 
come to the point at once. I seek nor 
the ' Humming Bird,' but Toinette who 
enlisted the Montmartre Wolves in the 
early days of the war. I come to tell 
her that because of that, the facts of 
which have only now reached them, 
the Government grant her a free par- 
don. I come to bring you the Croix 
de Guerre, won by your staunch com- 



rade Zi-Zi, the last of your little band 
of heroes, who, dying, bequeathed it to 
you." 

Randall Carey looked in frankest 
amazement from Toinette to La Roche 
and back again. This news was news 
to him indeed; and his expression 
showed as much. 

"The Montmartre Wolves?" he 
murmured. 

"The Montmartre Wolves; yes," 
said La Roche. " You know of them? 
You have heard of them?" 

"Heard of them? More than that. 
I met them. ' • 

"I saw them and was side by side with 
them in their most glorious exploit. 

"It was in their fiercest engagement 
that I was wounded first. And you 
mean to tell me — " 

" That they were raised by Toinette 
here. Indeed they were. And their 
valour and their exploits are a lasting 
memorial to this little lady. What 
more can a grateful government do 
than show its gratitude in this form." 
Carey turned to Toinette and took 
her hand. 

" My darling," he said softly, "I 

always loved you, as you know, 

and as I want my dear aunt 

and my good friend here to 

know now ; but I am proud 

of you as well — prouder 

than I thought I could 

ever be of anyone. 

"T knew Zi-Zi — for a 
time I was his friend 
in the trenches; and 
there was no one 
there would have 
thought he came from 
the Cave in Mont- 
martre. The country 
had reason to be 
proud of him. Equally 
proud it must ever be 
of the little woman who 
was his inspiration and 
the inspiration of all his 
fellows. My Toinette!" 
La Roche handed the cross 
to her with a graceful bow, 
and blushing prettily she 
pinned it on her bosom. Then 
with a smile he added : " Bless 
you my children," and with 
heavy playfulness took his depart- 
ure. A moment or two later Mrs. 
Marshall Carey followed him, and 
Randall and Toinette were together 
alone. 

" And so," he said, taking her in his 
arms, "you are the 'Humming Bird?' 
What, Miss, have you to say to that?" 
" Only," she said with a smile, "that 
vou have captured the ' Humming 
Bird,' after all." 

" And I mean to hold it fast," he 
assured her, " so that it will never go 
free any more. Are you frightened?" 
" No, for the ' Humming Bird's ' 
wings are clipped. Besides there is no 
need to fly." And Toinette pressed 
her lips to his. 



FEBRUARY 1925 



Picture s and P/cfvre peer 



39 



Ke ArtoF 
AdolpKe 
Memou 



The author of tnis series has chosen his 
subjects with great deliberation, taking 
only those stars whose work seems to 
him a permanent and essential contribu- 
tion to the art of the screen. 



Adolphe Menjou is perhaps the 
most negative artist on the 
screen. 
To be negative is not to be 
negligible, however; not a quality of 
weakness, but of power. 

To be negative is to reserve and 
conserve one's forces, to retain in 
oneself a limitless supply of strength, 
to be magnetic, and desired, and in- 
imitable. 

To be negative is never to sell one's 
dramatic birthright for a mess of 
dollars, but to know, and never to 
divulge, the secret of power. Buster 
Keaton is a negative artist — John 
Barrymore has moments of negative 
genius — Adohphe Menjou is a negative 
artist par excellence at all times and 
altogether. 



J do not like to think of Menjou as 

a star, although he can claim the title 
to-day if it pleases him. But some- 
how the name is too gaudy, too 
positive, for the man who owns it. 
There is nothing secretive in stardom, 
nothing to hint at an enigma, to allow 
for reserve. 

Nor do I like to think of Menjou 
as the characters he has played in his 
various films, as " Pierre Revel " or as 
"Professor Stock"; for always it is 
Menjou, and not the character who 
makes his mark upon the memory. He 
is not versatile. Lift him from film 
to film and the parts which have best 
fitted him will be found to fit perfectly 
into one another. " Pierre Revel," if 
he had been a marrying man, might 
just as well have married " Mizzi " as 
" Professor Stock." But no other 
actor on the screen could have created 
either " Stock " or " Revel." 

There is one, and only one Menjou. 

When does he ever waste a gesture, 
a movement, or a glance? When does 
he ever express more than the merest 
hint of his feelings in his face, or 
show concern, or emotion, or positive 
opinion? 

Menjou has never in his whole 
screen career expressed anything in 
superlatives. 




And that, perhaps, is the true reason 
for his many years of insignificance, 
of dull, obscure work behind the 
camera, under the shadow of many a 
brilliant luminary who would be proud 
of Menjou's patronage to-day. For 
in the kinema superlatives are the only 
royal road to fame, and he is a rash 
man who neglects them in his early 
years. A rash man — and an admir- 
able one. 

Adolphe Menjou, as a personage, 
was not before Chaplin found him and 
made him great in A Woman of Paris. 
But Adolphe Menjou, as a hack actor, 
had been working beneath the sunlight 
arcs for many a year. He had played 
in Through the Back Door, The Sheik, 
The Three Musketeers, The Eternal 
Flame, Singed Wings, Bella Donna, 
Clarence and many others. He had 
played in them all competently, but 
without more than a hint of that 
peculiar quality which was to colour 
all his later work. He played villains, 
always. But somehow his villains, 
for all their shirt-fronted, eyebrowed 
competence, were never very convinc- 
ing. 

Then came Chaplin. 

And under his guidance, Menjou dis- 
^^ covered Menjou, and the screen 
discovered its only villain who is also 
an artist of the first rank and a living, 
breathing man. 

In A Woman of Paris the art of 
Menjou was evolved and stabilised and 



defined. In The Marriage Circle ir 
received its confirmation and its final 
polish. And now Menjou the artist is 
ready for his lifework. And what, so 
far as we can distinguish them in his 
negative genius, are the qualities 
which he commands? 

Culture — polish — intelligence — 
here are three. A subtle and irresis- 
tible sense of humour. Perfect poise, 
coolness and balance. A secret 
laughter turned against himself, a 
slight suggestion of puzzlement, and a 
still slighter suggestion that nothing in 
the world exists which has power to 
surprise or startle or puzzle him to his 
dying day. Silence. A deceptive 
blandness of countenance. The power 
to empty his face of all expression. 
The power to record, with smashing 
effect, the absence of all thought, 
emotion or opinion whatsoever. 

Menjou is an artist who appeals 
straight to the emotions of his 
audience. We never feel, as we do 
with Nazimova, a lack of kinship 
through all the fascination of the 
player. We want to meet him. We 
want to laugh with him. We flatter 
ourselves that we, and we alone, could 
understand him. And that is exactly 
what he means each one of us to feel. 

Doing nothing, he flatters; saying 
nothing, he suggests; acting nothing, 
he is. He never commits himself. He 
never explains himself. 

A genius of negativity, Adolphe 
Menjou. E _ R _ Thompson. 



40 



Picture s and Pichjre $ver 



FEBRUARY 1925 



6mestr\Gss of Ernest 

Torrence is a Scot, so he fully realises the importance of being Ernest. 



' 



•^s 



Jlk 



■■ .-. , : . 



■■■p 



Tm 



ZJ&* ' 



Itak ***** 



Top left: As "General Orlando 
Jackson" in "The Fighting 
Cozvard." Above: As "Petit 
Patou " in " The Sideshow of 

Life." 
Left: In "Broken Chains;" 
and Beloiv: Ernest as "Captain 
Hook " in " Peter Pan" crosses 
swords with one of the boy 
actors on the set, under the 
approving eye of Herbert 
Brenon. 



tained more stars than Dick Barthel- 
mess and Gladys Hulette. I noticed 
him first as " Mahaffey " in The Prodi- 
gal Judge, where as the bibulous, lova- 
ble friend of the Judge he achieved an 
instantaneous success. 

\To one seemed to realise that a genius 
had suddenly appeared in the 
Vitagraph studio ; nevertheless, in an 
otherwise negligible picture, a Per- 
sonality effectively prevented the 
audience from being bored. Ernest 
Torrence had arrived. 

Genius will out, and something like 
Tol'able David was bound to follow. 
Even then I don't think many people 
suspected the number of scintillating 
character studies that were to follow 
close on each other's heels. : I myself, 
with all my Torrential prejudice, was a 
bit nervous lest the standard of his 
Luke Hapburn had been pitched too 
high and that he would not be able to 
keep it up. 

VTow I know differently. Torrence can 
keep up his brilliant character 
studies till further orders- For Tor- 
rence is a great actor. One of the 
seven deadly sins of directors is that 
once they find that a man can play a 
certain type of part well, they never 
again, if they can help it, let him play 
any other. 

We shall never know how many real 
artists have had their careers 
destroyed because of this. The crucial 
moment in Torrence's life came when 
he realised the sort of part he had been 
cast for in Broken Chains, a film that 



I believe in Ernest Torrence. 
I believe that he is one of the 
greatest dramatic actors the screen 
has ever produced. 

I believe that success will never turn 
his head. 

I believe in the power and originality 
and enthusiasm that he brings to every 
part he undertakes. 

I believe that he has made a great 
many other " heavies " in Hollywood 
look sick. 

I believe that to limit his powers to 
villains is like chaining down the North 
Wind. 

O, yes, I believe in Ernest Torrence. 

But then I .have always believed in 

him, even before people suddenly awoke 

to the fact that Tol'blc David con- 



-v 



A 



*> 



fcs 



E ■ 1 



FEBRUARY 1925 



Pict\ire s and Picture poer 



41 



was simply a mediocre copy of Tol'able 
David. 

He had a sudden glimpse of the dull, 
villainous future that lay before him. 
There was a scene in which he had to 

J',o to the limits of brutality by molest- 
ng a baby's coffin on its way to the 
churchyard. 

He sarcastically remarked to the 
director that it would be an improve- 
ment if he struck a match on the coffin 
in order to light his pipe. The director 
agreed — enthusiastically — and that was 
the end of Torrence's ambitions as a 
realistic villain ! 

To his everlasting credit he broke 
loose. Turning his back deliberately 
on the successful " type " that was 
bringing him much praise and money, 
he managed to persuade unwilling direc- 
tors that there were other subtle shades 
of characterisation besides those of 
brutality, and that he was perfectly 
willing to begin at the beginning and 
see what he could do with. them. 

Jesse Lasky took him at his word. He 
gave him his first chance of sympathetic 
work in The Covered Wagon. The 
congratulations of film lovers are due 
to both. Jesse Lasky was able to give 
the world, some magnificent films, and 
Torrence saved himself from a head- 
long flight tQ oblivion. 

There are plenty of reasons why 
Torrence should be a good actor. He 
has been on the stage ever since he was 
a boy, unlike many other stars who set 
out to be lawyers, doctors or school- 
masters and then suddenly changed 
their minds — for better or worse- 

From Edinboro', where he lived as a 
boy, he was sent to Germany to study 
music under Pruchner, the favourite 
pupil of Liszt. Here he learned all the 
requirements of an opera singer, and 
developing a rich baritone voice, an 
uncanny talent for acting, and a gift of 
dry humour quite his own, he was lured 
to the London musical comedy field. He 
spent several years in George Edwards' 
shows and in the later Savoy operas, 
and was then engaged by an American 
company to play the part of the Captain 
in "The Night Boat," on Broadway, and 
the Scobch comedian in " The Only 
Girl." 

But the picture people, luckily, would 
not leave him any peace, and so the 
stage lost a genius and the screen found 
one. 

[ ike Emil Jannings, the real life and 
j"" ' screen life of Ernest Torrence are 
worlds apart. It is a high compliment 
to his artistry that if you were to meet 
him in real life you would have some 
difficulty in recognising him for the 
brutal " Luke Hapburn " or the fantas- 
tic Clown of Singed Wings. In him- 
self Torrence is like a rare old bit of 
seasoned timber. He is Scotch, and 
upright, and a Puritan. He lives very 
simply in a simple copy of an old 
English Manor House hidden behind 
the more pretentious dwellings of 
Hollywood. His only extravagance is 
his grand piano. He will play to you 



it you let him, but he never brags, He 

seems to believe that the man and the 
actor are, and should be, totally dis- 
tinct. 

He has a personality so strong 
that no film that he plays in can 
be really poor. In spite of all the 
forces arrayed ftgailMj him he 
managed to save the Hmtchback 

of Notre l\inw, despite Lou 

Chaney's posturings ami 
mouthin^s, the stiffness of 
Norman Kerry and th^e vapidity 
of Patsy Ruth Miller. He and 
Tully Marshall together 
gave The Covered Wagon a 
place that it really does not 
deserve in history. It was a 
good film : they very nearly 
succeeded in making it a great 
n ' m - E. R. Thompson. 

Oval: Ernest in "North of 36." 

Below: A Scene from " The 

Hunchback," in which he 

played " Clopin." 



In "West 
of the 
Water 
Tower" 



In 

" Ruggles 

of Red 

Gat>." 




44 



Pict\jrBS and PichjreQOer 



FEBRUARY 1925 




Left: An early romance. 
Lincoln's first love was 
Ann Rutledge, the 
blonde beauty of New 
Salem. Right: George 
A. Billings as "Abra- 
ham Lincoln." 




FEBRUARY 1925 



Picture s and P/c/\jreOver 

J 






\ 






s 



>** 



k\ 



t\ 






W 



^ '* 



Above: Lincoln is introduced to the lady he afterwards 
married, Mary Todd (Nell Craig). Left: Mr. and Mrs. 
Abraham Lincoln and their sons. These do not appear for 
any length of time in the film this side, though the death of 
one was shown in the American releases. 



It 



H 



k 



i ■ 



/*> 7 



2 i 



E5 



Above: Mrs. Lincoln begs her husband to heed the warning 
he has received not to leave home that evening, but " Abe " 
refuses to disappoint the people. 

Left: At the theatre on the fatal night just before the assas- 
sination of Lincoln. Film-lovers should not miss this pro- 
duction, the finest historical and biographical film yet made. 



Pichjres and Pic/\/rv$z>er 



FEBRUARY 1925 



Ccwad Ns&el At home 



If we magazine 
writers don't stop 
bally-hooing Con- 
rad Nagel as the 
original saint of the 
movie world, I'm 
afraid he may break 
out and do something 
devilish ! He simply 
hates being called 
good, and -his respect 
for his religion makes 
him dislike the idea 
of having the fact 
that he goes to church 
commented on. 

I must admit, how- 
ever, that he doesn't 
go to wild parties, nor 
drink, nor get arrested 
for speeding, nor get mixed 
up in any divorce scandals 
— all of which things, of 
course, are supposed to mark 
a man in pictures as a regu- 
lar guy. Too bad, isn't it, 
that he's had only one wife, 
and never beat her! 

V^et, strange as it may seem 
the Nagel household is 
one of the most interesting 
in Filmland. The Nagels are 
both musical, both play the 
piano and sing, having studied with 
Conrad's father, who is an accom- 
plished musician. If you care for 
the best in music, you can hear it 
in the Nagel home. Also you can 
hear good talk about the newest 
books and plays, with both of which 
the Nagels keep abreast. I don't 
think they care much about some of 
the lurid, so-called high-brow 
literature of the day, however; 
but they aren't narrow-minded, eith 
It is just that they have taste. 

Mrs. Nagel is young, beautiful, and 
had an excellent chance as an actress, 
but she refused several offers for the 
screen, preferring, strange as it may 
seem, to make a home for her husband 
and baby to having a career of her own. 

Little Ruth Margaret comes in for a 
good deal of the family's worship. She 
is h.er father's idol, and every day that 
he isn't working, he takes his little 
three-year-old daughter down to the sea 
for a swim- The baby is learning to 
swim. He is going to take her to the 




theatre some 
day, but not 
yet. But she 
goes motor- 
ing with her 
parents 
whenever 
they take a 
trip. She is never left to the tender 
mercy of servants, except when her 
father and mother go away on location, 
and then not for any long periods. 



arid sun-porches, on a quiet 
little street of Hollywood. 
There are big pepper trees in 
front of the door, and there are 
many beautiful rose bushes and 
shrubs about the ample yard 

Inside, the place is roomy 
and charming, modestly fur- 
nished, but a real home. 

man just naturally 
must have some house- 
faults, and Conrad is ;»o ex- 
ception. His wife says that 
he isn't at all an easy man 
to provide food for ! There 
are certain things that he 
just won't and can't eat. In- 
cluded are onions and most 
vegetables, and as for garlic 
it is clear out of his life. 
He likes string-beans and peas, and 
nothing else in the vegetable line. But 
— prepare for a shock ! — Conrad loves 
limburger cheese ! He eats rather 
sparingly of meat, but is rather fond of 
sweets. 

Conrad loves children, but woe to the 
youngster who harms his roses ! Never- 
theless, even to such he is merciful and 
teaches them much about flowers and 
how to grow them even when he 
catches them red-handed. 

Grace Kingsley. 



FEBRUARY 1925 



Pichure s and Pichure poer 



47 




TKe Way Tkeir Mcney Goes 



Screen stars being quite human 
folks, much of it goes the same 
way as yours and mine. Some 
of them have curious methods 
of depleting their pay cheques. 



Y 



ou won't find the names 
of the movie stars in 
the Hollywood tele- 
phone book. Their 
phone numbers are guarded 
with all the secrecy of the 
formula for the deadly explo- 
sive in a screen serial, for, 
once let them be revealed, and 
that half of the population of 
Los Angeles which spends its 
time trying to sell something 
to the other half, would be 
calling them up from morn 
to midnight to offer them 
washing machines, oil wells, 
automobiles, fancy hogs, 
ranches, bootleg gin, divorces, 
chances of charity raffles, 
babies to adopt, and lots in 
Oak View, View Crest or 
Crest Acres. 

Hollywood is the richest 
city per capita in the world. 
Millions are made here every 
week, and there are plenty of 
philanthropic souls to see that 
these millions don't burn 
holes through the stars' 
pockets. The picture people 




Above : Viola Dana ozvns 
this Beauty Parlour and 
Edna Flugrath manages it. 
Left : " The upkeep of my 
bob is my chief extrava- 
gance," says Mae Murray. 

can't go shopping on Fifth 
Avenue, Haymarket or the 
Rue de la Paix, so the 
shops come out to them. 

The most expensive 
tastes may be gratified 
within a ten-mile radius of 
the Famous Players studio, 
whether they are tastes for 
first editions, old masters, 
Paris gowns, antiques, 
authentic Empire beds, 
imported laces or pedi- 
greed pups — and gratified 
quickly ! 

When the word went 
around recently that Shirley 
Mason was fond of dogs, 
the streets about her home 
were choked for days with 
mongrels, curs, canine mis- 
takes, Pekes, Chows and 
Russian borzois, accom- 
panied by their hopeful 
owners. 

One store in Los 
Angeles sends an expert 
abroad twice a year to pick 
up rare books and old 
manuscripts for the movie 



48 



Pictures and Pic l\i re We" 



FEBRUARY 1925 




trade. Pola Negri 
spent twenty-five hun- 
dred dollars on books 
there not long ago. It 
was there that 
Corinne Griffith bought 
a tiny manuscript copy 
of one of Alfred 
Noyes' earlier poems 
as a present for Wal- 
ter Morosco. George 
O'Hara, noted for 
literary tastes, often 
drops in to pore over 
newly arrived trea- 
sures, and to buy a bit 
of Americana or an 
autographed Poe for 
his library of first 
editions. I know th\s 
sounds press-agenty — 
but I've seen them. 

" They all come in 
here," the manager 
says, " and they don't 
think Ibanez is the 
name of a brand of 
cigars either!" 

It is a thankless 
task to rob people of 
cherished illusions, yet, 



Above : Mrs. Buck Jones with 
Pedigreed police dogs. 



two of his 



Tom 
Mix. 







%-u—^l^-- 





Cecil De Mille's schooner-yacht " The 
Seaward," cost many hundreds of dollars. 



contrary to our best spinster novelists 
the screen stars spend very little on 
expensive vices, drinking, drugs and 
colourful orgies. Once, perhaps, but 
Hollywood has learned its lesson. 

The wisest of the film stars realise 
that success isn't going to last forever. 
The popular idol who is sitting pretty 
to-day may be sitting on a park bench 
to-morrow. The beautiful star whose 
fan mail has to be brought in an 
asbestos sack to the studio now may 
find nothing but envelopes with little 



isinglass windows in her next mail. 
Knowing this, the movie colony has 
become thrifty. Not that Charlie 
Chaplin's mantel is decorated with a 
tin bank to put his pennies in, not that 
Mary darns Doug's socks of an even- 
ing, but the conversation in screen 
circles nowadays sounds like a real- 
tor's convention. 

HThe first thing that most stars buy is 
a home. Every foothill in Holly- 
wood sprouts Itahan villas, Spanish 
haciendas and French chalets owned 
by some cinema celebrity. Here is 
Sessue Hayakawa's medieval castle, 
there is Theodore Roberts' English 
country house. The ink was scarcely 
dry on Warner Baxter's new Ince con- 
tract before he dashed out and bought 
a colonial knocker, and then he found 
a house to go with it. 

Jackie Logan has just moved into a 
charming bungalow for which she has 
been saving ever since she got her first 
studio cheque. 

" But the prices always went up as 
soon as they knew I was in the pic- 
tures," she laughs. " I had to read 
the ' For Sale ' columns for nearly a 
year before I found a place I could 
afford." 

Huntley Gordon frankly admits that 
he bought a house on the instalment 
plan in order to force himself to save. 
Anna Q. Nilsson is eking out the 
meagre earnings of a star with the 
proceeds of her chicken ranch. Some 
of the picture players are even land- 
lords. Noah Beery has built several 
bungalows whose rents go into his 
young sqn " Pidge's " college bank 
account. Norma Talmadge owns an 
apartment house, and doubtless re- 
ceives complaints from irate tenants 
concerning leaky plumbing. 

One of the most confirmed real 
estate addicts is Monte Blue, who salts 
away every cent he can lay his hands 
on in portions of California 
scenery known to the initiated 
as " view lots." If Los 
Angeles ever grows to be the 
size that its enthusiastic 
boosters claim it is already, 
Monte is going to be very 
wealthy. William Farnum 
owns a house a trifle 
smaller than Buckingham 
Palace and seventeen acres 
of climate which he is 
planning to turn into a 
sub - division. George 
Hackathorne has just 
acquired title to two offices in a new 
Hollywood Boulevard skyscraper to 
rent to a derrtist, a doctor or a scenario 
writing school. 

Down on Washington Boulevard a 
huge electric sign, " Roland Square," 
revolves night and day, marking one 
of Ruth's real estate ventures. Another 
is the co-operative apartment house, 
The Roland, which the serial star is 
building to sell at thirty thousand for 
a four room apartment ! Of course 
they are calling Ruth Roland the 



FEBRUARY 1925 



Picture s and Pichure pver 



49 




Bebe 
Danieh 



Hollywood homes like this one which be longs to Theodore 
Roberts cost a goodly number of dollars. 

Hetty Green of Hollywood, but Agnes 
Ayres is a close competitor for the 
title. Louise Fazenda lives very 
simply while she saves her money to 
buy a home of her own. " No mort- 
gages for me!" she says. "When I 
buy I'm going to own more than just 
the address." 

Mr. and Mrs. Mary Pickford — as 
Doug gallantly terms them — put most 
of their money into their next pic- 
tures. Mary is a wise little business 
woman. As someone has remarked, 
if Mary Pickford had started life run- 
ning a peanut stand, she would have 
cornered the world's supply of peanuts 
in less than six months ! Poor Charlie 
Ray was not so successful when he in- 
vested all his savings in producing 
The Courtship of Myles Standish. 




A favourite joke in Hollywood is to 
speak of sending one's laundry to 
Mary Miles Minter. In spite of her 
mother's bitter complaint that Mary 
was so extravagant that she spent one 
hundred thousand dollars in four 
months, the little star evidently used 
her head for other purposes than sup- 
porting golden curls, for the laundry 
brings her in a good income. What 
business could be more remunerative? 

" The Foothill Garage," one of the 
busiest and biggest in the city, is 
owned by Viola Dana, although she 
doesn't personally overhaul bulky car- 
burettors. But Edna Flugrath, her 
sister, has left the films to manage her 
new beauty shoppe — the final " pe " is 
silent except on the bill ! 

Beauty, by the way, is one of the 
most expensive items in the feminine 
star's budget. " I don't dare eat a 
chocolate cream drop for fear it will 
show!" wailed one screen flapper, 
staring hungrily at a confectionery 
display. " You know, in the movies 
it's a case of take care of the pounds 
and the pence will take care of them- 
selves !" 



Above : Adolphe Menjou and his be- 
loved little coupe. Right : Jacqueline 
Logan, too, likes a nice home. 

Louise Fazenda has a mechano- 
therapy doctor treat her between 
scenes at the studio. Norma Shearer 
employs massage to keep her young 
slimness. Nita Naldi lost twenty-five 
pounds in order to play opposite 
Valentino, but the electric treatments 
reduced her bank roll even more 
miraculously. Eleanor Boardman on 
the other hand, often takes a few days 
off and goes on expensive milk diets 
at a private sanatorium in order to 
gain weight. 

" The upkeep of my bob is my chief 
extravagance !" Mae Murray declares. 
" From the moment I put my hairpins 
away in moth balls I've spent enough 
on my hair to feed and clothe a family. 
When I am working I pay an expert 
twelve dollars a day to curl that bob !" 

Most stars spend large sums on 
clothes. " When I was poor," Betty 
Blythe confesses, " I used to long to 
go to fashionable tea places and 
gorgeous hotels. And now that I can 
afford it you'll find me on Peacock 
Alley nearly every afternoon !" 




50 



Pictures and Pictxjrepver 



FEBRUARY 192> 



With a philanthropic desire 
to brighten up the corner 
where she is, Betty brought 
eleven trunks of Paris finery 
back with her ! Corinne 
Griffith and Norma Talraadge 
indulge their feminine love of 
fig leaves, and Myrtle Sted- 
man doesn't consider being 
the flapper mother of a two 
hundred pound son any 

A stable of six polo ponies 
runs away with a substantial 
portion of Jack Holt's 
income. 








<* 


;<.,*; 




Ilfpp* 


i.Y- " 


*w^ 





Monte Blue puts a whole lot of his cash 
into " view lots " in Los. 

reason for economising in her ward- 
robe. Moth and rust does not get a 
chance to corrupt Myrtle's earnings, 
for she invests them in the fine art of 
living and entertaining lavishly. 

The " diamond breakfasts " which 
Cecil B. De Mille gives his casts at the 
finish of a picture are Arabian Night 
affairs in which butlers pass trays of 
diamond-studded jewellery among the 
guests for their selection. On one 

Below : Leatricc Joy deposits a cheque at 
the Commercial National Bank of Los 
Angeles, of which Cecil De Mille is Vice- 
President. 



i c 




■ : <§i 




Km 



side of his nature De Mille is a 
keen business man investing in 
a bank, a phosphate company, 
and a real estate development, 
on another side the love of 
luxury which his pictures dis- 
play is expressed in his marble 
palace of a home, his yacht, "The 
Seaward," his ranch playground, 
" Paradise," and the finest 
private collection of diamonds of 
a 1 1 colours in America. 
Curiously enough, his own 
sleeping room is as ascetic and 
bare as a monk's cell. 

C")n evenings when an awe- 
struck world is permitted to 
watch Bull Montana step out in 
all his splendour of diamond 
studs, stick pin and cuff links, 
one wonders that the traffic laws 
do not require him to put dim- 
mers on his headlights. Even 
in informal wear the Bool 
dazzles with his diamonds and 
solid gold dental display. A 
friend once ventured, the story 
goes, to hint to the Bull that it 
was not correct form to wear 
— quite so many carats at a time. 
Mr. Montana gazed fondly down 
his vast expanse of sweater 
front studded with rainbow fires. 
" Them as has 'em, wears 'em !" said 
he succinctly. 

But the Beau Brummel of Holly- 
wood is that son of the great open 
spaces, Tom Mix, with his hundred 
suits of clothes, his fifty pairs of shoes, 
his monogrammed sports shirts made 
to order at forty bucks per, his hun- 
dred dollar hats. 

" And yet, what the d — am I work- 
ing for?" Tom demanded of a friend 
the other day. " When I was poor, I 
could go hunting if I felt like it — now 
I got the finest collection of guns in 
California, and all I hunt for is my 
director ! I got the most expensive 
carved bed outside of a museum, 
and last year I spent a hundred and 
forty nights in it and the rest of 
the time in bum hotels on location. 
I got a yacht and no time to sail 
on her, I got dude clothes — and all 
I wear is buckskin riding breeches 
and flannel shirts ! Who am I 
working for? I'll tell you who — 
I'm working for Levy the jeweller 
and Bernstein the tailor!" 

The Mix jewels, in which the 
cowboy star has invested much of 
his wealth because no insurance 
company would take him as a risk, 
include several anklets and a wrist 
watch set into an eleven carat 
diamond, but lest any ambitious 
young huruiar should happen to 
read this. I may add that they are 
kept in a bank vault. 

Valentino is another star who 
purchases luxury. When he was 
in Europe last year he travelled 
with a suite of secretaries and a 
train of automobiles. 

(Continued on page 74.) 



FEBRUARY 1925 



Pictures and Pict\jre$ver 



51 



J&rwiiAwas right 1 



These clever monkeys do everything but talk. 





Above : In " In-Bad the Sailor." 

Was he? Opinions differ vastly 
on the subject, but those who 
have seen Fox's chimpanzee 
stars, Max, Moritz and Pep, 
are inclined to think that there was 
something in the learned professor's 
much-abused, much-ridiculed theory, 
after all. 

These three monkeys are claimed 10 
be the best trained and most intelligent 
chimpanzees in the wor-ld, and assuredly 
it is no idle boast. In their films they 
do everything but talk — indeed, it might 
almost be said that they can do that, 
too, for they use the telephone in the 
most realistic fashion. They cycle, 
skate, motor and wear fasJiionable 
clothing, smoke cigars, cigarettes or 
pipes, eat and drink, in an almost un- 
cannily human way, and in a recent 
film one of them gave an impersonation 
of a mannequin, complete with parasol, 
silk stockings and high-heeled shoes. 
And for the parading of all this versa- 
tility before the camera they — or rather, 
their owner — receive the modest salary 
of £200 per week ! 

"W/hen they are not working on the set 
the three are allowed a fair amount 
of freedom, and they can often be seen, 
strolling sedately about in the grounds 
around the studio, looking for all the 
world like a trio of little, dried-up old 
men, or chasing each other up and down 
the passages amongst the offices. Visi- 
tors to Fox Studios who have not been 
prepared for this spectacle are liable 
to receive a severe shock to the system 
— in fact it is recorded that one old 
gentleman, unexpectedly coming upon 
all three of them grimacing in a dark 
corner, put it down to the fact that he 
hadn't taken enough water with' it over- 
night, and went out straight away to 
sign the pledge. 

On another occasion an elderly lady, 



" Moritz " quietly 
fanning her with 
her own fan, as 
he had been 
taught to do on 
the screen. 

Teaching the 
simians to per- 
f o r m their 
various stunts is 
quite easy, 
according 




Above : In " The Cowboys" 

to their trainers Reuben Gastang and 
Charles Judge- They are quick to pick 
up anything new, and have even been 
known to introduce one or two gags of 
their own into the comedies in which 
they have starred. But a far more 
difficult task is that of making them up 
for the camera. 

In their old two-reelers this was con- 
sidered unnecessary, and they made 
their first acquaintance with grease 
paint when their latest and biggest 
comedy Darwin was Righi came to be 
filmed. They haven't quite got used to 
it even now. Of the three Max seems 
the most disturbed about it, and though 
he submits to having it smeared over 
his face, his "expression the while is one 
of ludicrous wonderment. " Moritz '" 
only keeps his on so long as the director 
is looking at him, then off it all comes 
and the operation has to be done all 
over again. And " Pep," the youngest 
and most frolicsome of the trio, t' inks 
it's just a grand new game and roliicks 
around in the midst of the application, 
to the despair of the harassed applicant. 

E. E. B. 



on her way 
to visit Shir- 
ley Mason in 
the star's 
dressing room 
encountered 
"Moritz" 
who was en- 
joying a 
smoke in one 
of the corri- 
dors. The 
sight so 
alarmed the 
poor lady that 
she fainted 
clean away, 
and when she 
returned to 
consciousness 
she found 




Explaining what makes this little old world go round 
in " The Monkey Romeo." 



52 



Pi chores and Pichjre$&er 



FEBRUARY 1925 




A 



One of the big pictures of nineteen-twenty-<five. 



Universal studios, at the present 
time, have a decidedly Parisian 
atmosphere. To the casual 
observer it is as though the 
outstanding landmarks of the French 



gossiped together in those cafes, 
thronged those streets, and 
rilled the vast tiers of the 
Opera House to overflowing. 




The 

Phantom in his 

boat. As Lon Chaney 

plays him he is the most 

terrifying thing in Los. 



Mary 

Philbin 

commences 

an adventurous ride 

capital had been miraculously trans- 
planted — lifted up bodily from their 
original surroundings and deposited 
pell mell at Universal City. 

On entering the studio gates the 
first thing that greets the eye is the 
great Cathedral of Notre Dame, built 
especially for the filming of The 
Hunchback. Wandering curiously past 
this, one comes upon a massive replica 
of the famous Paris Opera House, 
and all around it a maze of Parisian 
streets, well-known cafes and other 
buildings. Now they are all deserted 
— empty shells with no sign of life 
or movement in them — but a short 
time back fashionable crowds 



Mary Philbin 
and Norman 
Kerry. 




Above : The complicated steel work 
foundation for the Paris Opera Hotisc 
sets. • 

Gay revellers nightly gathered here, 
and in their midst a little group of 
people worked out an eerie drama to 
its eerie ending. " Christine Daae,"' 
the beautiful opera singer, " Raoul de 
Chagny," a young French nobleman, 
and one known as the " Phantom 
Erik " — these were the principal 
players in the great drama. At the 
last name .those versed in the supersti- 
tions of the Opera House shudder in- 
voluntarily, for of the terrible and 
sinister figure of " Erik " none can 
think without a feeling of horror diffi- 
cult to suppress. 

Stalking through the riotous 
crowds, striking a chill to the hearts 



FEBRUARY 1925 



Picture s an d Picture poer 



53 



lU-low : 

Iht 

Phantom 

and 

the 



mainly, with his dreadful mental m- 

thrrncc on " Christ iru- DaM " (played by 

M.iry I'hirlun) and her ultimate 
rescue by " Raoul dc Chagny " (Norman 
Kerry). 

Much of the action of the film takes 




Mary 

Philbin. 



of the gayest, dominating the fortunes 
of the opera singers with his morbid 
influence, he seems the very incarna- 
tion of those dread phantoms, who, 
popular belief has it, hold ghostly con- 
course in the cellars beneath the Opera 
House. 

This is the role that Lon Chaney 
takes in the filmed version of Gaston 
Leroux's'The Phantom of the Opera," 
and never has he succeeded in making 
himself look quite so horrible as he 
does with this particular make-up. 
According to the author of the book, 
* Erik, the Phantom " was a music 
teacher who would have been an 
opera-singer himself had it not been 
for a terrible facial disfigurement. 

This made him look so ghastly tha: 
women had been known to faint at the 
sight of him, and in consequence he 
had to keep his face covered when he 
walked abroad. The story deals 

Right: Rupert Julian and the first all 

metal stage in filmland (it housed the 

Opera sets). 






A & 



a : fc yt' 





Underground passages play a large part tn the film. 



place in the cellars where the proper- 
ties of the different operas arc stored, 
and the result is eerie in the extreme. 
For instance one scene is enacted with 
the palace and brilliant trappings of 
" Le Roi de Lahore," with its Hindu 
settings, as a background, and another 
in a vault where the giant dragon 
Fafnir, the serpent and enchanted 
forests of " The Nibelungen Ring " 
are lying. 

Besides this there is a staged ver- 
sion of Margu«ri t e's garden in Faust. 

When it was first decided to film 
this story, Rupert Julian the director 
had some idea of taking the entire 
company to Paris, to obtain the neces- 
sary scenes, but it was afterwards 
found more practicable to take Paris 
— or as much of it as they needed — to 
the company. The replica of the 
famous opera house was erected in a 
little over nine weeks (its original 
took nine years to complete!) 

The framework is made of steel, 
the walls and roof being reinforced 
with corrugated iron, and 175,000 ft. 
of lumber were used on it. Inside, the 
splendour of the original is duplicated, 
even to the carving and the great glass 
chandelier in the centre; the audi- 
torium is the full height of five tiers, 
while the main staircase has been 
reproduced completely. 

Three thousand people were used in 
the crowd scenes for this film, and 
more money was spent on it by 
Universal than on any of its predeces- 
sors. So, if lavish sets, unstinted 
money, and an exceptionally good cast 
are enough to assure a good film, The 
Phantom of the Opera promises to be 
one of the best of America's picture 
offerings for 1925. 



54 



Picture s and Picture pver 



FEBRUARY 1925 




k&t'll You 

Do M&ry ? 

Unlike the girl in the popular song Mary Hay 

hasn't " got a plan of her own." She hasn't 

decided what she'll do after " New Toys." 



A " snap " 
of Mary and 
Dick taken at 
Florida. 



Mary and Dick were moving. 
They have taken a lon^-term lease on 
a brown-stone edifice in the East 
Nineties. 
I arrived at the said brown-stone front in the 
East Nineties about four in the afternoon and 
the door was opened to us by a young - man in 
workaday clothes, rolled-up sleeves, turned-in 
collar-band and smudges. " Come in, we're 
moving," said Richard, handsome for all his 
smudges. 

I trailed him over the precarious footing of 
rolled-up rugs and came, in the back room, upon 
Mary Hay Barthelmess, enveloped in a huge 
apron, also adorned with smudges, down upon 
.her hands and knees, polishing table legs, floors, 
etcetera. " Come in, we're moving," she said, 



Below : Mary lakes tea with Mrs. John Harris 
who makes her film debut in " Classmates'' 



Another 
" snap " 
showing 
Dick 
Barthelmess 
welcoming 
his wife 
zvho went 
out to 
West Point 
to see 
some 
exteriors 
for 
" Class- 
mates ' 
filmed. 




extending an elbow to be taken in lieu 
of a hand. 

Mary Hay perched on the extreme 
edge of a chair and surveyed the 
glistening results- of her handiwork. 
" Dick's the funniest boy," she said, 
laughing, ".he takes this moving busi- 
ness all on his own shoulders^ — did you 
notice — and honestly, he hasn't done a 
thing, not ONE THING, that won't 
have to be done all over again. I give 
you my word, all he has done is to hang 
the pictures, and as they haven't been 
dusted in three years why, of course, 
they'll all have to come down again and 
be dusted. Also, .he has hung the 
fish . . ." 

Mary paused, as if mentioning a Per- 
sonage with whom one. should be 
familiar. " The fish . . . ?" I was vague. 
" Yes, the fish ,he helped to catch down in 
Florida. It weighs- about thirty pounds. It is 
the most-important thing in this house at pre- 
sent. Dick has dragged it around from room 
to room, trying the effect on every bit of wall 
space. It has ended, eventually, in his own 
room, on the wall opposite to his bed. But 
here, I'm not giving you very good copy, am 
I?" 

I said that I liked hearing about the house. 
" We've taken a three-year lease," said Mary 
Hay, " the longest we've ever been in any one 
place. Now that we have the baby we can't 
be jumping around from place to place all the 
time. We have to consider her. You want to 
hear about New Toys, don't you?" 

" I want to know how it happened, your 
playing opposite to Dick, who suggested it. 
whether you are going to remain on the screen, 
all that sort of thing," I said. 

"\Y/ell," said Mary Hay, "it's simple enough. 
When I was working on the stage and Dick- 
on the screen, we really never saw one another 
at all. I would be working most of the night. 
Dick would be working all day. Then Dick- 
thought it would be good for me to do a 
picture with him. Last year when we saw 
' New Toys ' on the stag'e, we realised that it 
was exactly the story for us. 

" In fact, people will doubtless say that it is 
the story of our real selves. I really have a 
better part in the picture than Dick has. It is 
a story that he wouldn't think of doing without 
me. 

" As to whether I remain on the screen or 
not, remains to be seen. I doubt it. I'm not 
pretty enough to do very much in pictures. 
Most of the big ones on the screen arc pretty, 
very. And I wouldn't be satisfied to be just 
one of the rank and file." 

Later on, Dick pausing for a moment in his 



FEBRUARY 1925 



Pictures and PichureVoer 



j* 




Mary H6y declares she isn't pretty enough to do very much on the screen. 
Remembering her work in " Way Down East" we beg to contradict the lady. 



strenuous career of picture-hanging, 
gave his version of this matter : 

He said that there was some con- 
troversy about* the advisability of their 
playing together from the fan point of 
view, but he also said that everyone 
knows he is married and that he be- 
lieves they will be interested in seeing 
what Mrs. Richard Barthelmess looks 
like, and .how they look together. 

" Now if it were Valentino or 
Novarro," said Mary Hay, " it wouldn't 
be the thing to ^do, probably. It's 
different with Dick." 

" Mary," said Dick, " is really a 
dancer. A very fine dancer. But she 
.has never had the opportunity to show 
it. She hasn't much of a singing voice, 
just enough to get a number across. 
Therefore, what is it that has put her 
over in her shows? Her personality 
If her personality has put her over 
on the stage, there is no reason why 
it shouldn't do the same for her on 
the screen. I believe that it will. This 
picture will prove a lot, of course. 
It is but idle prophecy to talk 



about it now. But I do believe 
that Mary win make good " 

" If I don't in this," said 
Mary, " I never will in any- 
thing on the screen. The story 
is so absolutely the vehicle for 
nre." 

" I've often thought," Dick 
said, " that I would be better 
off if I had struck some sort of 
a pose." 

I laughed and told Dick that 
I thought a pose was only 
necessary to fill the vacuum 
created by the lack of any true 
ability. In his own case his 
success. . . 

" But I'm not successful," 
Dick said, " not yet." 

" Oh, well," I said, " that is 
a matter of opinion, but most 
opinions would be against 
you. After all, what is 
success?" 

" It's always," said Dick, 
" just around the corner." 




After which I departed, leaving Mary 
to h«r polishing, Dick to his pictures 
and both of them to motor back to 
Westchester later on to dinner and the 
baby. Gladys Hall. 



56 



Pictures and P/'cfurepoer 




IN SHADOWLAND. 
When you go into the pictures 
And you find to your surprise 
That a star you're very fond of 
Is there before your eyes — 
Don't they just light up and twinkle 
At the sight of that bright star, 
As you beam at your companion — 
Think how fortunate you are. 
Sure they're like old friends, these 

shadows, 
Though they never come to stay, 
And there's something in the heart of 

them 
That steals your own away. 
So here's to all our favourites, 
Whoever they may be, 
And here's a health to Lewis Stone, 
Who's captivated me- 

E. H. (Hammersmith). 

THE KID. 
Oh, Jackie Coogan, don't grow up ! 
I like you as you are. 
Do please remain a jolly "Kid"; 
The greatest movie star. 

In every film, The Kid, My Boy, 
Trouble and Circus Days — 
Especially Long Live the King — 
I loved your winning ways. 

So let us sing " Long Live the King," 
" The King of Kids, Young Jackie," 
I'd love to serve your majesty 
E'en as a humble lackey ! 

Jackie's Admirer (Surbiton). 

TRUE BLUE. 
Of all the famous fellows 
Who act upon the screen, 
My hero is the finest 
That ever has been seen. 
He hasn't Rudolph's slumbering eyes, 
Nor Tommy Meighan's smile, 
Nor yet Novarro's easy way 
The fan's hearts to beguile. 

He's fought against some startling odds 
And in the end he's won, 
He's raced with death and thrilled us all 
And more than that he's done. 



W. S. Hart. 



He's tall and dark and handsome, 
He's gentle, brave and true, 
And now I guess I'll tell you — 
His name is Monte Blue ! 

Patricia (Coventry). 

LILLIAN. 

Dainty of mien and tiny of form, 

Dear little Lillian Gish; 
With a smile she has taken me wholly 
by storm, 

Wonderful Lillian Gish.; 
Hair Hke spun cobwebs, eyes all- 
gleam, 

Fair little Lillian Gish; 
Star-like and wistful, she comes from a 
dream, 

Shy little Lillian Gish ; 
She is a poem, a flower of delight, 

Fairy-like Lillian Gish, 
She holds my heart in her small hands 
so white, 

Beautiful Lillian Gish. 

Diana (Twyford). 

TO NIGEL. 

Highwayman bold ! Gay rogue w.ho of 
old 

Rode o'er the heath when the moon 
shone on high, 

And heedless of danger, to each pass- 
ing stranger 

Your " Stand and deliver !" would cry. 

Highwayman bold ! With other folk's 

gold 
You rewarded each dark, lonely ride. 
And now on the screen your gay 

devilry's seen, 
Your "Stand and deliver!" still cried. 

Highwayman bold ! Your wicked ways 

hold- 
After long years of quiet you've made a 

fresh start- — 
For you caught me by chance and with 

one flashing glance 
Made me " Stand and deliver !" — my 

NlGELFAN (Hove). 



FEBRUARY 1925 
PULLING PICTURES TO PIECES 

[This is your department of Picturegoer 
In it we deal each month with ridiculous 
incidents in current film releases. Entries 
must be made on postcards, and each 
reader must have his or her attempt 
witnessed by two other readers. 2/6 
will be awarded to the sender of each 
" Fault " published in the Picturegoer. 
Address : " Faults," the Picturegoer, 
93, Long Acre, W.C.2]. 

Did. the Warder Do It? 

In The Count of Monte Cristo the 
" Abbe," while in his prison cell, moves 
his bed to one side, lifts a stone slab 
underneath it, and goes along the 
passage, he had been making during 
his imprisonment, to " Edmond Dante's " 
cell. When the two come back into 
his own cell the stone and bed are both 
neatly arranged against the wall. 

E. V. (Colombo). 
A Very Quick Change. 

In Pied Piper Malone the father is 
seen reading the paper to his wife, who 
is sitting close by dressed in a white 
dress and shawl. Annoyed at something 
he reads, he throws down the paper. 
His wife stoops to pick it up and her 
dress has changed to a black one. As 
she had not left her chair how could 
she possibly have changed? 

B. J. (Richmond). 
An Elusive Tree. 

" Gil de Berault," in Under the Red 
Robe is seen entering his room at the 
Inn. A tree is plainly visible through 
the window on the left-hand side. Later 
when " Gil de Berault " climbs out of 
the window, there is no tree of any 
description in sight. Yet when he is 
back in his room the boughs are still 
visible through the panes. 

J. D. (Balham). 
Obedient Lizzie. 

In The Reckless Age, Reginald 
Denny and his friend arrive at the 
station in a motor. They jump out and 
when they return later the car has 
accommodatingly turned round for" 
their return journey. 

S. R. (Dulwich). 
He Took It Quietly! 

There are some scenes of the Battle 
of Waterloo (June 8th, 1815), in the 
Samuelson film A Royal Divorce. Just 
before the battle a closed chaise drives 
up to " Napoleon's " headquarters and 
the " Empress Josephine " steps out. 
Napoleoi: seems slightly surprised to 
see her, but taking into consideration 
the fact that Josephine died at Mal- 
maison on May 29th, 1814 (over a year 
before Waterloo) I think Napoleon 
should have shown rather more emotion 
than he did ! 

W. B. T. (Brixton Hill). 

Did She Go to Bed in Them? 

In Flaming Youth the heroine's 
sister is in bed. She gets out and sits 
on the edge, drawing a wrap round her 
shoulders, and then walks across the 
room. It is noticed that she has on a 
pair of bedroom slippers, but as nobody 
sees her put them on the natural in- 
ference is that she slept in them ! 

P. D. (Bedford). 



FEBRUARY 1925 



Pichure s and Pi chare puer 



57 



eKsecu 
Percy 



A 



It seems to be every director's favourite 

sport these days. Percy Marmont's 

screenic sufferings are exceeded only by 

those of Lillian Gish. 

nother," said Percy wearily, as 
I was shown in. 
" Another what?" I asked. 
" Another persecution," he re- 
plied. 

I looked at him. I looked frigidly at 
his- bored, serious face, at the little 
frown gathered between his brow6, at 
the whole droop of his body as he rose 
to meet me, as limp and spiritless as a 
man could be. I drew myself up with 
contrasting dignity, determined to hold 
my own. I was annoyed. 

" Of course," I said, " if you are busy, 
I won't, stay. But considering I have 
come all the way across America to 
talk to you about your film career, and 
considering — " 

I broke off. Suddenly I was aware 
that a change had come over the man. 
Very slyly, very gradually, through the 
serious mask of his face had crept a 
humorous light. Under drawn brows 
his eyes were challenging, quizzical, and 
a little triumphant. The straight line 
of his mouth was uncertain. I had a 
horrid suspicion that I had made a fool 
of myself — a suspicion which amounted 
the next moment to a certainty. Percy 
threw back his head and laughed like a 
schoolboy, so broadly, so infectiously, 
that it would have been impossible not 
to join in the joke. 

"lWIy dear old chap," he said, slapping 
'"me on the shoulder. "You do take 
things seriously, don't you? I believe I 
really hurt your feelings with that 
greeting!" 

" A bit, perhaps," I confessed. 

" Forget it," he said. " I was just 
fooling. They call me a character 
actor, you know, and I was trying on 
the martyr touch. Believe me, I've 
been looking forward to this visit of 




Below : Marmont as a London coster in 
the stage version of " London Pride " the 
British war play. Bottom right : Percy 
joined the Fire Brigade for " The Mid- 
night Alarm." 




Percy, the pond and the 
pelican, which he says re- 
minds him of his native England. 



yours ever since you cabled me you 
were coming. It's more than a red- 
letter day when I can see a friend from 
the old country." 

" Well," I confessed,, " I felt a bit 
like that myself when I heard I was to 
interview you. I've many good friends 
in the movies over here, but somehow 
an Englishman like you — " 

" Is different." 

" Yes." 

" Even when he hands you the icy 
mitt as soon as you cross the threshold 
of his home?" 

" Even under those most unpleasant 
circumstances," I told him gallantly, " I 





58 



Pichure s and Pichurpo ver 



FEBRUARY 1925 




Left and Below : Percy 

Marmont with and 

without face 

fungus. 



am charmed to meet our most dis- 
tinguished actor who — " 

"Oh, cut it out," said Percy hurriedly, 
" Let's have a drink." 

He went across the room and 
opened — 

No, I won't give away his secrets. 
But he opened it, anyway, and brought 
out — . Never mind what he brought 
out. You may take my word for it that 
the taste was sound enough. 

"But what is this?" I asked him, 
reproachfully. " I had always been led 
to believe, from a careful publicity, 
•that Mr. Percy Marmont the dis- 
tinguished actor, was a paragon of a 
person who never told a lie, or indulged 
in strong liquors, or came back late 
from his club at night." 

" Go on believing it," said Percy 
with a grin. " It's a pleasant belief and 
looks good in print. But meanwhile 
meet the real Percy Marmont, who is, 
I'm thankful to say, a human being." 
And he poured me out another. 

"Dut let's get this straight," I said. 
"Do you mean to tell me and an 
anxious world of picturegoers that 
you're not the perfect Mark Sabre of 
the screen? Do you mean to say that 
you smoke — " 

" And drink." 

"And tell polite lies?" 

" And tell real old whoppers. And 
play Mah Jongg. And sometimes for- 
get to shave. I confess it all." 

" Mr. Marmont," I said sternly, " do 
you know what .happens to a young man 
who leads this vicious sort of life? Do 
you realise what the future holds for 
him? Do you know that when he grows 
up he is lost totally — " 

" And marries a girl in the corps de 
ballet'" Percy finished the quotation 
for me. " Yes, I know my Gilbert and 
Sullivan like all good Englishmen. I'm 
not a bit the nice young man you know 
from the screen. It's just as well to 





warn you in good time." 

" You're not?" said I. "Then shake." 

And we settled down to enjoy our- 
selves. 

" By the way," I said presently, "why 
did you make that remark about another 
persecution— are you in the habit of 
being persecuted more than most of the 
popular stars?" 

" I've been persecuted all my life," 
he answered. It's my profession. I don't 
know whether there is something about 
m y face or my figure or my mentality 
that invites ill-usage, but whenever they 
want someone they can kick and brow- 
beat and send to the devil in every 
possible way they send post-haste for 
me. I've nothing much to say in 
favour of my face, but sometimes I 
wonder whether it has really asked for 
all the ill-treatment it gets. Even the 
camera has done its bit in the way of 
persecution." 

" I always thought you photographed 
particularly well," I remarked. 

"T HOPE I don't,' 1 he answered. " I 

hate the screen Marmont. Sometimes 
when my films are run through I can 
hardly bear to look at them, so much 
does the sight of my own face bore and 
irritate me. But the camera is an un- 
intentional persecutor. All the rest have 
been deliberate." 

" You mean the sort of rough luck- 
that happened to Mark Sabre?" 

" I mean every kind of pictorial 
suffering, physical and mental. I seem 
to have got a corner in persecution. 
Some day I shall write an autobiography 
and call it ' Persecuted Percy.' People 
would buy it thinking it was screaming 
farce, and they would find themselves 
up against stark tragedy!" 

" I suppose you are a pathetic type," 
I reflected, looking him up and down, 
studying his keen, sensitive face and 
slight figure, the honest eyes, the in- 
teresting touch of grey in the hair at 
his temples. " I'm a pathetic fool," 
said Marmont, smiling at my scrutiny. 
" I must be, to judge from the sort of 



Right : 

Percy 

Marmont, 

Gertrude 

Short and 

Ralph 

Bushman 

listen in 

whilst on 

location for 

" The Man 

Life Passed By." 



m 



FEBRUARY 1925 



Picture s and Picture poer 



59 



In " The Man Life Passed By " with 
Jane Novak. 




parts they are always wanting me to 
play. If ever there is a hero who is 
inclined to be unpractical and dreamy, 
send for Percy. If «ver there is a .hero 
who makes the devil of a mess with his 
job, send for Percy again. And if ever 
there is a hero who is unquestionably 
weak in the upper storey, send for 
Percy every time I" 

" You shouldn't suffer so attrac- 
tively," I told him. 

" Bless you, they wouldn't mind. They 
let me make the most horrible faces and 
behave in the most horrible way with- 
out turning a hair. They say it's Strong 
and that in moments of Strength men 
do carry on like that. For my own part, 
I believe that the twitch of an eyelid, 



the wrinkling of the foreh ea d, or the 
■lightest movement of the mouth, 
carries far more dramatic impression 
than emphatic gesture So 1 try to 

bom down my icttaj m much as ]* 
hie. Hut it isn't always easy in the life 
of agony which my characters have to 
go through !" 

" tTvcr get any holiday from persccu- 
tion?" I asked. 
" Very seldom. But of course it 
varies in quality, as well as in quantity. 
The shortest and most drastic persecu- 
tion was my very first — was, in fact, my 
introduction to theatrical life. They 
seem to have spotted me as a sufferer 
from the start I 

" What happened?" I asked. 

" I ran away from .home in England, 
when I was still a boy. I was mad to 
go on the stage, and tried my 
luck with a touring company 
•which was playing " The 
Only Way." The manager 
looked at me and decided 
that I would do very well for 
a young French aristocrat on 
his way to the scaffold. The 
part took about three minutes 
to play, and was painfully 
vivid for those three minutes. 
So that was when the suffer- 
ing began." 

" And it has gone on with- 
out a break ever since?" 

Left : Percy and his pipe. 




In "Love is Everything,- ne was a sculptor. 



A studio portrait. 



60 



Pictures end Pichurepuer 



FEBRUARY 1925 






^ 






The parlour Sheik, complete with camel. 

" Almost. Perhaps when I was on 
the stage I had a few more respites 
than the screen has given me. You see, 
I played in every sort and condition of 
dramatic production, from heavy 
tragedy to musical farce, and with a 
repertoire of that kind, you can't suffer 
all the time." i 

" Oh," said I, gloomily, " you were 
another of those horrible versatiles, like 
Conway Tearle." 

" Yes, horrible," he echoed. "Most 
horrible of all, I was a baritone singer. 
And some people liked it." 

I shuddered. 

" Don't tell me," I said, " that you 
also played with Cyril Maude, Sir 
Herbert Tree, and George Alexander." 

" I'm afraid so." He grinned. " It's 
the correct thing to have done, isn't it? 
But I did. I'm sorry, but it's true." 

" Go on," I said faintly, " I can bear 
it." 

Oval: An out of doors picture. Below: 
A study in perturbation. 



nn 






" Then Liverpool Repertory Company. Australia. South 
Africa. And there I made my first film. I put in a couple 
of days' work as a roughrider to please a friend of mine 
who was connected with the moving picture business. And 
I learnt the ropes from a half-naked Zulu who could not 
speak a word of English. He didn't have to teach me 
how to look persecuted, though ; I knew that all right." 

He paused to fill his pipe. 

" It's a dull story," he said. " I wish I could make it 
more picturesque for you. I wish I could make you 
believe that I graduated from the ranks of Christie Comedy 
or the Mack Sennett bathing beauties. But the fact is 
that I stopped off at New York on my way home from 
Australia and fell straight on my feet into the movies. 
And there I've been ever since — more or less persecuted." 

P\ied much.?" I asked him cheerfully. 

"Frequently," he assured me, and with most touching 
particulars. " I started the dirty work of suicide quite 
early on in my career, and I put in some 
good suffering stuff in all my early work 
with Vitagraph such as The Winchester 
Woman, Slaves of Pride, The Climbers, 
Dead Men Tell No Tales, and 
The Vengeance of Durand. 
But as the years went on the 
persecution became much 
more subtle and sophisticated. 
Somebody spotted me as an 
intellectual type, not to be 
killed off lightly, and I think 
it must have been at this 
point that it occurred to pro- 
ducers that I would do equally 









I 



\ 



\ 



S^ ! 



"If 

Winter Comes" 
his best liked movie. 

well as an impractical 
scholar or as a village idiot. Anyway, 
it was written down that either my 
brain, or the complete absence of it, 
was the valuable thing about me, and 
they called off the dagger and revolver 
stuff, and put me down for a course of 
mental persecution instead." 

" Aren't you going to give me a list 
of your films?" I asked, in astonish- 
(Contimtcd on page 69). 



FEBRUARY 1925 



PicKire s and Pichjre pver 



61 




he 




Cjoy (^ompton 



EASTERN FOAM 
is sold in Large Pots 

PRICE 

H4 

by all Chemists 
and Stores. 




WMMm 



T he beautiful and charming 
actress, on the stage and screen, 

writes of "EASTERN FOAM^- 

" 1 consider it a 
most soothing and 
refreshing preparation. " 



HE first few months of the year are especially trying 
to the skin and this is the time when Eastern 
Foam comes as a real godsend to all women. 

A little Eastern Foam should be applied night and 
morning before going out. This is quite sufficient 
and it enables the skin to withstand wind, weather 
and extremes of temperature. 

The fragrant perfume of Eastern Foam, its purity and 
freedom from greasiness make it particularly useful to 
the girl who dances. It is an admirable basis for powder. 

PATTERN OF FANCY DRESS COSTUME 



T 



A paper pattern of the costume of the famous "Eastern Foam" Girl 
will be sent post free for od., together with coloured paper reproductions 
of breast plates, head-dress ornaments and giant replica of the 
"Eastern Foam" box. Write, stating whether Child's or Adult's size 
(34, 36 or 38 inch bust), to — Eastern Foam (Pattern Dept), 
16-30 Graham Street, London, N. i. 




EASTERN FOAM 

VA N 1 Ei l-l I N G C R IE A M 



THE CREAM OF FASCINAT/ON 







Us* "KALOSAN" Tooth Paste— as good as "EasUrn Foa\ 



62 



Pict\ire s and Pichure puer 



FEBRUARY 1925 




FEBRUARY 1925 



Pictures dr\d Pict\jre&oer 



63 





"The Crowning Glory 
of a Woman is her 

Hair" it is the 

'Dominant Detail ; tht 
one Unfailing Charm 



I 
How Wean have 

rich, wavy hair 



Of every twelve attractive 
women one sees at> theatres, 
restaurants, dances or wherever 
beauty counts one only may have 
good features .... The others 
attract » subtly, because of 
their lovely hair and the 
dever way they have arranged it. 
Realising this, the world's riclust women 
spend hundreds annually, on professional 
hair-dressing, but the world's most beautiful 
women almost invariably use Lavona Hair 
Tonic, which costs little ; and gives 
unrivalled results. Lavona Hair Tonic 
contains a secret, exclusive ingredient that 
acts like magic. It grows new youthful hair, 
of such vitality as to display the richest, 
most captivating waves possible, and it 
gives the hair the glorious colour it should 
naturally have. At the same time the 



tresses are thoroughly freed from dandiufl 
and grease and just gleam and glisten with 
healthy loveliness. No dye in Lavona — 
no trouble; nothing internal to take; 
nothingextra required. Even a wonderful 
shampoo is given free with every package. 
This shampoo is the safest and best you 
can get — we give it free because of the 
danger of ordinary shampoos. So, for 
2/1 id. you can get at any chemists a 
complete outfit — complete even to a 
printed guarantee of hair loveliness or 
refund of price. The coming months hold 
much in store for the girls who use Lavona I 

1 av/oima 

■* MAIRTONIC ^ 

vo/' Seou/yfos//r ~ or /yo/>ty 8<tck 




Your Chemist 
stocks them. 

Packed in distinctive 
tin boxes containing 

2o2s.8d. 4 02s. 1/3 

802. 2/3 I lb. 4/3 



for that 

morning Hoavsonoss 

which is so irritating and some- 
times distressing, an 'Allenburys' 
Glycerine and Black Currant 
Pastille is a tonic to the throat 
and makes the voice clear and 
strong. Besides having a soothing 
effect they have a delicious 
slightly acidulous flavour charac- 
teristic of the fresh |uice of black 
currants, which is the principal 
ingredient of the pastille. 

They are most palatable and may be taken 
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effects, as they contain nothing deleterious. 

flllenbunys 

Vfe-1 PASTILLES 




ALLEN At HANBURYS Lt± 

37 Lombard Street, London, E.C.3 




64 



Picture s and Pichure $oer 



FEBRUARY 1925 




Kick bats cgrBotlpueLs 

page constitutes a Picturegoer's Parliament. If, you want to catch Ij K^L . TniJZin? 

o i >_ i _ 1-4.4. *._ 4.u- t^j:».__ j: ..: __ It JAJaKS J aimooge. 



This page constitutes a Picturegoer's Parliament If, you want to catch 

the Speaker's eye send a letter to the Editor expounding your views on 

film plays, film stars, or filmatic topics in general. 



One for the Casting Director. 

In my opinion the person most de- 
serving of brickbats is he who is 
responsible for the casting of a pic- 
ture. Sometimes minor characters 
are so miscast that they spoil an other- 
wise good film, and very often the 
principals themselves are quite the 
wrong type for the roles they are 
taking. For instance, Matheson Lang, 
though he acted adequately as " Dick 
Turpin " was the direct antithesis of 
the highwayman in personal appear- 
ance. According to the contemporary 
and Harrison Ainsworth's description 
of him, the real Dick Turpin was 
short, red-haired and pock-marked ! 
Ivor Novello and Nigel Barrie as 
" Bonnie Prince Charlie " and "Claude 
Duval " respectively, should have 
changed roles. Charles Edward 
Stuart was tall and dignified as well 
as handsome — Barrie would have ^ 
been ideal in the part (Novello % 
wasn't). Claude Duval was J 
small and dapper as well as 
good-looking — Novello would 
have been perfection in the 
part (Barrie wasn't). Doug- 
las Fairbanks as " D'Artag- 
nan" was a rude awakening 
from Dumas' conception and 
William Farnum as " Sidney 
Carton" in The Tale of Two 
Cities was a scream. 

Fidelity (London) 
Buck blows his own trumpet. 




Mixed Applause. 

I should like to present a 
very fine bouquet to Norma 
Talmadge who, in my estima- 
tion, is the finest emotional 
actress on the screen. I 
am also a Valentino 
admirer, although I place 
Dick Barthelmess before 
him. The only fault I 
have to find with the 
latter is that he doesn't 
star in better pictures ; in mos 
of those in which I have 

Harrison 
Ford, 





.-. ■**■ 




seen him lately, his talents have been 
quite wasted. Amongst our British 
actresses my first presentation is to 
Gladys Cooper, who is second to none 
for beauty and fine acting. Fay 
Compton is not far behind her, and 
Alma Taylor is very sweet, only I 
wish she would put more " pep " into 
her work and star in better pictures. 
Brickbats (by the cartload) should be 
hurled at Douglas Fairbanks, who is 
certainly no Adonis, and at Agnes 
Ayres, whose poor acting quite spoiled 
The Sheik for me. 

Bouton D'or (Kilmarnock). 

The Perfect Lover. 

Opinions differ on the subject of the 
perfect screen lover, but to my mind 
Harrison Ford, more than any other, 
deserves that title. The others are 
very clever, of course, but Harrison is 



everything that can be 
desired, so please hand 
him a large bouquet 
from me at the first 
opportunity. 

E. F. (Mitcham). 

Bull Has a Double. 

I am rather difficult to 
please with regards to film 
stars as a rule, but after due 
consideration I have decided 
to award my bouquet to Bull 
Montana. I am afraid you will 
think that my admiration is of 
ther a selfish nature when I 
tell you that my friends all tell 
me I am like this actor. It used to 
worry me a lot at first, but after I had 
seen him on the screen I came to the 
conclusion that after all the best and 
the worst of us have our uses. Then 
I wrote to " Aunt Jane," the lady who 
advises people in a weekly paper I 
read, and she said exteriors didn't 
matter so long as one had a beautiful 
nature. So I am sending my bouquet 
to the beautiful nature with which I 
hope Bull Montana has been gifted. 
Jimmy (Sunbury) 

Buck Jones For Ever! 

In my opinion Buck Jones is jus 
wonderful — the handsomest man o 
the screen and one of the best actors 
if he were only given a chance. Some 
of his films certainly do not do him 
justice, but despite this Buck is, was. 
and always will be, my favourite star. 
I love him better than any one else on 
the screen and should like to shower 
him with bouquets. 

Buck's Adorer (Catford). 



: 



FEBRUARY 1925 



Pictures and P/c/\jrepver 



65 




e ovea t 







Victor MacLiflen's first American star picture. 

That's Victor MacLaglen, in case 
you don't know. The title was 
bestowed upon him by Mar- 
guerite de la Motte, when the 
two were working together on the film 
of that name- All things considered, it 
is an appropriate one, for despite the 
almost brutal strength of the boxer film 
star, there is an appealing quality about 
him that makes him a general favourite. 
-~^specially with the ladies. 

Victor was born in South Africa and 
Jus father was a minister out there. 
He is one of six brothers, all of w.hom 
are over six feet tall, and perhaps it 
was partly this fact that helped him to 
acquire the strength that was to mean 
so much to him 
in after years. 
In that atmos- 
phere of virility 
and manhood 
he found every 

Three studies 
of Victor 
showing his 
magnificent 
physique. 




encouragement to go in for sport and 
all sorts of gymnastics, in order to 
achieve real physical fitness. 

The result was one which very often 
happens in the case of any normal, 
healthy boy, brim full of life and 
animal spirits. Home became too small 
a place, the wanderlust took possession 
of him, and soon after he left school he 
.had sailed for Ontario, with little more 
than his fare in his pocket, and the 
indomitable courage of youth in his 
heart. 

UW a short time he tried his hand at 
* farming, and then, finding it too tame, 
he joined the ranks of some 
silver prospectors. The new ven- 
ture brought him many thrilling 
adventures, but very little silver, 
and he was on the point of 
looking round for some other means of 
making a fortune, when a fortunate 
chance decided his future career for 
him. A professional boxer came into 
the camp, offering to take on " all 
comers," and MacLaglen, knowing 
nothing much of the science of boxing, 




Above : With Marguerite de la Motte in 
" The Beloved Brute" 

but having great confidence in .his own 
splendid strength, took up the challenge 
and knocked out the professional. 

From that moment he knew that the 
ring was the only place for him, and 
he went into training with deadly 
seriousness. He is a boxer very much 
after Jack Dempsey's build, and his 
record of winning fights is a large one. 
At the age of eighteen he was the 
champion heavyweight boxer of the 
Pacific North-West, and he afterwards 
became the champion heavyweight 
boxer of Canada. One of his biggest 
fights was with Jack Johnson in a six- 
rounds no decision contest. 

\7ictor's first film was made after he 
came to England. It was titled The Call 
of the Road, and it proved that he was 
almost as talented an actor as fighter. 
Others followed in quick succession. — 
The Prey of the Dragon, Corinthian 
Jack, The Glorious Adventure (a Stuart 
Blackton Production), A Sailor Tramp, 
The Sport of Kings, The Romany, and 
M'Lord of the White Road. 

When Stuart Blackton was assem- 
bling his cast for The Beloved Brute, 
he remembered MacLaglen and decided 
that he was the actor best fitted for the 
title role. He cabled for .him to come 
over, and Victor accepted the part with 
alacrity, for it is one after his own 
heart. In it he fairly revels in fights 
and tackles, in some scenes, not only 
one but a dozen or so men at the same 
time, handling them all with, consum- 
mate ease and skill. A wrestling bout 
with William Russell is a great feature 
of the film, and the two men prove 
themselves so well matched that they 
provide a scene of breathless interest. 
It would be hardly fair to tell you the 
result here, but suffice it to say that the 
" Beloved Brute " lives up to his 
reputation to the end ! E. E. B. 



66 



Picture s and Picfxire $oer 



FEBRUARY 1925 




I 



Art "Acord 
Ben Alexander 
Gerald Ames 
Agnes Ayres (2) 
Betty Balfour 
Nigel Barrie (2) 
Wesley Barry 
John Barrymore 
Richard 

Barthelmess (2) 
Warner Baxter 
Hilda Bayley 
Wallace Beery 
Madge Bellamy 
Edna Best 
Constance Binney 
Monte Blue 
Betty Blythe 
Eleanor Boardman 
John Bowers 
Flora Le Breton 
Clive Brook (2) 
Mae Busch 
Georges Carpentier 
Lon Chancy 
Ethel Clayton 
Lew Cody 
Jose Collins 
Ronald Colman 
Betty Compson (3) 
Fay Compton 
Jackie Coogan (2) 
Gladys Cooper 
Dorothy Dalton 
Viola Dana 
Bebe Daniels (2) 
Marion "TJavies 
Mildred Davis 
Marjorie Daw 
Priscilla Dean 
Reginald Denny 
William Desmond 



Richard Dix 
Ivy Duke (2) 
William Duncan 
Josephine Earle 
Douglas Fairbanks 
Du.stia Farnum 
Elsie Ferguson 
Harrison Ford 
Hoot Gibson 
John Gilbert 
Dorothy Gish 
Lillian Gish 
Gaston Glass (2) 
Corinne Griffith (2) 
Mahlon Hamilton 
Elaine Hammerslein 
Hope Hampton 
Kenneth Harlan 
Wanda Hawley 
Jack Holt 
Violet Hopson 
Jack Hoxie 
Lloyd Hughes 
Marjorie Hume 
Charles Hutchison 
Rex Ingram 
Edith Johnson 
Justine Johnstone 
Buck Jones 
Leatrice Joy (2) 
Alice Joyce 
Buster Keaton 
J. Warren Kerrigan 
Norman Kerry 
James Kirk-wood 
Theodore Kosloff 
Alice Lake 
(.'alien Landis 
Matheson Lang (2) 
Lila Lee 
Elmo L' nc oui 
Harold Lloyd 
Bert Lytell 



WE offer free to ' 'Picturegoer" Readers 
this month 12 Postcards of Norma 
Talmadge, Warren Kerrigan, Herbert 
Rawlinson. Anna Q. Nilsson, Richard 
Barthelmess, Mary Pickford, Douglas Fair- 
banks, Carol Holloway, Stewart Rome, Lilian 
Gish, Thomas Meighan, Betty Compson, 
artistically and delicately tinted in soft 
pastel shades. 

This lovely set will be given entirely FREE 
with every order for the celebrated "Picture- 
goer" Series of Sepia Glossy Postcards — Real 
Photographs — to the amount of 2/6 or more. 

If you are a collector of Postcards of Film 
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the subtle beauties of the " Picturegoer " 
Tinted Series. The exquisite soft shades 
greatly enhance the portraits, giving them new 
and lifelike charm. They will look simply 
adorable in an album or on your mantelpiece. 

Choose your Sepia Glossy Postcards from the 
list given here and BE SURE to accompany 
your order with the Coupon opposite. 



Louise Lovely 
Edmund Lowe 
May McAvoy (2) 
Katherine Mac- 
Donald (2) 
Malcolm McGregor 
Dorothy MacKail 
Percy Marmont 
Barbara La Marr (2) 
Mae Marsh 
Shirley Mason 
Frank Mayo 
Thomas Meighan 
Adolphe Menjou 
Patsy Ruth Miller 
Tom Mix 
Colleen Moore 
Tom Moore 
Antpnio Moreno 
Marguerite De La 

Motte 
Jack Mulhall 
Mae Murray 
Carmel Myers 
Conrad Nagel (2) 
Nita Naldi 
Owen Nares 
Nazimova 
Pola Negri (2) 
Guy Newall 
Anna Q Nilsson 
Jane and Eva Novak 
Ramon Novarro (4) 
Ivor Novello (4) 
Eugene O'Brien 
Mary Odette 
Pat O'Malley 
Baby Peggy 
Eileen Percy 
House Peters (2) 
Mary Philbin 
Mary Pickford 



Eddie Polo 
Marie Prevost 
Edna Purviance 
Jobyna Ralston 
Herbert Rawlinson 
Irene Rich 
Theodore Roberts 
George Robey 
Charles de Roche 
Rod la Rocque 
Ruth Roland 
Stewart Rome 
William Russell 
Joseph Schildkraut 
Gregory Scott 
Milton Sills 
Anita Stewart 
Lewis Stone 
Eric Von Stroheim 
John Stuart 
Madge Stuart 
Gloria Swanson 
Blanche Sweet 
Constance Talmadge 
Norma Talmadge (4) 
Richard Talmadge 
Conway Tearle 
Alice Terry (4) 
Phyllis Neilson Terry 
Queenie Thomas 
Ernest Torrence 
Rudolph Valen- 
tino (7) 
Henry Victor 
Florence Vidor 
George Walsh 
Bryant Washburn 
Niles Welch 
Pearl White 
Earle Williams 
Lois Wilson 
Claire Windsor 



Coupon 

This Coupon must accom- 
pany every application for 
the Free Set of " Picture- 
goer " Tinted Postcards. 






Picfure£oerSaJor\ 



88 t LJONG ACRE. 



LONDON, W.C 2. 



il 






FEBRUARY 1925 



Picture s and Pi chjrc Over 







"Two Movie Moguls visited London 
recently in the persons of Joseph 
Schenck and Samuel Goldwyn nee 
Goldfish. The first-named came to give 
the once-over to trade conditions and 
distribution problems this side, with the 
purchasing of stores as a sideline. He 
told us that United Artists (called Allied 
Artists this side) contemplate produc- 
ing twelve pictures a year and that 
Norma Talmadge films will be included 
amongst these as soon as her' First 
National Contract is ended, which.- will 
be in about a year's time. The first 
big- release of Allied Artists will be 
Chaplin's The Gold Rush, which will 
be trade shown this month. 

"Phe film," he observed, " is primarily 
for the women of all countries. 
If I can manage to please them, then I 
am satisfied, for I believe they matter 
most. But I do not think women like 
the costume film. It is too remote — 
they cannot so easily become one with 
the heroine, and so Norma Talmadge 
has abandoned the idea of filming 
Madame Pompadour." Joseph Schenck 
is touring the whole of the British Isles, 
before visiting the Continent, which he 
means to tour very extensively. 

The mission of Samuel Goldwyn or, 
at least, part of it, is to find a girl 
to portray " Juliet " in a film version of 
the immortal drama to Ronald Colman's 
"Romeo." "She must possess screen per- 
sonality," declares this pioneer pro- 
ducer. " And some dramatic if not 
filmatic experience." Our own choice 
would fall on Mary Philbin and none 
other. Mr. Goldwyn was on his way to 
Germany to try to persuade Dr. Froud, 



the psycho-analyst, to join forces in 
producing a story by a girl of eighteen, 
which he declares one of the most 
remarkable love stories ever written. So 
now we know the worst. 

r\avid Powell, whose name we have 
missed for some months from cast- 
ing directors' lists is playing lead in 
Back To Life, a new Whitman Bennett 
feature just completed. 

D udolph Valentino has offered to pre- 
sent a gold medal to the motion 
picture actor or actress who gives the 
best performance of this year. Decisions 
"ill be made by vote, which looks good 
for the U.S. mail business. 

rWiglas and Mary are at work again, 
he on a Spanish romance in La 
Zono (one of his best), and she on a 
story something akin to Amarilly of 
Clothes Line Alley which will be 
directed, not by Von Sternberg, but by 
Micky Neilan. The Sternberg feature, 
which requires an industrial back* 
ground will be filmed at Pittsburg a 
little later in the year. 

' I 'he Adolph Zuhor ten thousand 
dollar prize for the story which 
made the best picture of the year has 
been awarded to Rafael Sabatini for 
Scaramouche. A distinguished body of 
judges which included representatives 
of the drama, the Press, and the Arts 
were heartily congratulated by Zuhor 
on the wisdom of their choice, which 
it is hoped, will encourage other dis- 
tinguished authors to write with one 
eye on screen possibilities. 



Cabatim's romance was the final 
choice, out of the seventeen pic- 
tures which were selected. These were 
Abraham Lincoln, A Woman of Paris, 
The Iron Horse, The Marriage Circle, 
The Sea Hawk, The Ten Command- 
ments, The Thief of Bagdad, America 
(Loi'c and Sacrifice), Anna Christie, 
Beau Brummel, Girl Shy, The Hum- 
ming Bird, Merton of the Movies, Mon- 
sieur Beattcaire, Secrets, and The 
Enchanted Cottage. The choice was 
then narrowed down to three, A Woman 
of Paris, The Thief of Bagdad and 
Scaramouche. Chaplin's film, however, 
fell down as regards story, and of the 
others, Abraham Lincoln, The Ten 
Commandments, Th-c Iron Horse, 
America and Girl Shy were written 
especially for the screen. Yet a novel 
written solely as a novel won the prize. 
This subject is an interesting one and 
will be dealt with more fully in a forth- 
coming issue. 

Chirley Mason has received a fan 
**" letter from a little twelve-year-old 
Japanese schoolgirl. Shirley plaintively 
declared that, though she was always 
fond of her lessons, they didn't teach 
Japanese where she went to school so 
it was unintelligible to her. The 
Japanese Consulate, however, were very 
willing to oblige with a translation of 
the letter, which was on finely-per- 
fumed rice paper, and read thus : " It is 
with great pleasure that your worship- 
ping people of Yokohama see your pic- 
tures. Bye and bye your people miss 
you with large tears. Will you please 
not come back soon again in your pic- 
tures to your people." This interesting 



68 



Pichjres and Picfrjrepuer 



FEBRUARY 1925 




Richard Dix amuses a juvenile audience with 'Peter" his handpicked talking doll. 



document was addressed to " Dear 
Honorable Shirley Mason." 

(~^ loria Swanson is reported engaged 
^"^ to a French Count. She did not 
make that second picture in Paris, much 
to her disappointment and will be at 
home again quite shortly. 

D odney, by the way, paid a short visit 
to London and was rewarded by 
one of those dense yellow fogs of which 
London seems to have the special 
monopoly. He didn't see much of the 
town for the first few days. 

\ /ictor Seastrom's He Who Gets 
Slapped which had its initial 
English presentation at the Tivoli, 
London, is unique in that both the 
British and the American Press 
unanimously agree as to its merits. In 
many cases where American praises, 
England censures. It is an age-old 
story which might have been called a 
film version of the Prologue to Pagl.i- 
acci, but it is treated in Seastrom's best 
form, vigorously, realistically, and with, 
many touches of symbolism which will 
appeal to discerning film lovers. The 
high spot of the movie is a scene in 
which the Clown returns to the ring 
to fetch a stuffed heart which had 
been buried in the sand there during his 
act, and stands meditating with it in his 
hand. The lights of the ring die out 
gradually until only a single white spot 
illumines the face of " He," before all 
is entirely black. It is a pity, though, 
that the title by which the play based 
on the same Russian story was 
known, i.e., " The Painted Laugh," was 
not used for the movie also. 

Ceastrom is working on Kings .in Exile 
^ which he has re-titled Confessions 
of a Queen. The complete cast con- 
sists of Alice Terry, Lewis Stone, 



Helene D'Algy, John Bowers, Eugenie 
Besserer, Otto Hoffman, Francis Hat- 
ton, Joseph Dowling, Frankie Davis 
and Andre de Beranger. 

IV/fonte Blue and Marie Prevost are 
once more at work on the same set 
in Recompense, directed by Harry 
Beaumont. Both players have recently 
signed long term contracts with Warner 
Bros., and will be seen together in 
several dramas this year. 

I_Jarry Morey in reminiscent mood the 
*■ other day recalled .some of th« girls 
who applied for positions in his com- 
pany when he was making his o»H star 
films at Vitagraph. " Among those 
who were at first extras then promoted 
to ' bits,' " he said, " were John Bunny, 
whose first ' bit ' was the role of a bar- 
man in one of my Westerns, Corinne 
Griffith, Betty Blythe, who soon rose to 
to be my leading lady; Alice Joyce, 
Anita Stewart and Norma Talmadgt.. 
But they've all climbed to the top of 
the tree now." 

[ ucille Ricksen, who has been doing 
such fine ingenue work at Ince's 
has organised The Climber's Club. Each 
member is a potential star and they are 
all under twenty. Their idea is to do 
" something finer and better," and they 
solemnly meet and discuss each other's 
characterisations. They also study 
" worth-while " dramas and the work 
of Duse and other famous artistes. 
Shannon Day belongs, Derelys Perdue, 
Clara Bow and Alberta Vaughan. 

V/ou may or may not have heard of 
Clare De Sorey, who has several 
screen appearances to her credit. But 
you assuredly will hear of her in the 
future, for she has been selected by 
Ernest Linnenkamp as one of his 
fifteen types of representative American 



beauty. Linnenkamp is a Viennese 
artist, who has been commissioned by a 
Swiss Studio to paint the thirty most 
beautiful women in the world. He has 
decided jo choose fifteen European 
types and fifteen American. The 
register of the latter still lacks four 
names, but amongst the first eleven 
appear Claire Windsor and Mary Phil- 
bin. 

Jack Pickford is playing in support of 
Nazimova in Her Son. 

'"The latest in the way of adventure 
serials concerns a kind of female 
Tarzan, a girl who since the age of 
four has a strange power over all the 
animals in her father's circus. 

Tom Meighan is scheduled to make a 
picture in Ireland. He will finish 
his present film, make one more and 
then s«t sail for the Old Counthry. 

/^ecil B. De Mille may be in England 
by the time this issue is on sale. 
He has severed his connection with 
Paramount films, and will produce in- 
dependently, releasing his screen plays 
through one or other of the big com- 
panies. He has a large party with, him, 
including of course his scenarist, Jeanie 
McPherson. 

\Y7ith many fans, a bag of goodies is 
a highly necessary part of the 
kinema programme. Chocolates and 
sweets are all very well, but there is 
also much to be said in favour of home- 
made chocolate confections. A little 
Bournville Cocoa and a copy of 
" Chocolate Cookery " (which can be 
had on application to Cadbury Bros, 
Ltd., Bournville) are the necessaries for 
this. By following the simple directions 
therein novel chocolate dainties can be 
made for both home and kinema con- 
sumption. 

Wallace Beery didn't star in " Curly 

Tof." but this looks as though he had 

ambitions that-way. 




V* 




*&m 



FEBRUARY 1925 



Picture s and Picture poer 



69 



PERSECUTING PERCY 



(Continued from page 60.) 



and 



ment, as he puffed at his pipe 
seemed to think the subject ended. 

" My films?" he repeated, and laughed 
heartedly. 

" \Jot on your life. Why should I? I 
never .had any parts that really 
satisfied me until // Winter Comes and — 
Good Lord ! Don't films age? It seems 
almost a lifetime ago already since we 
were over in England making the 
Canterbury scenes. What is it? Two 
years? Nearly three? Not as much? 
Jove, what a time that was, and how 
good it was to be home again. Even 
the London omnibuses gave me a thrill. 
And Whitehall — do you know what 
lucky devils you are to have a White- 
hall? I wouldn't change it for any 
street in the world." 

" No chance," I asked, " of work 
bringing you back to England again in 
the near future?" 

He shrugged his shoulders. 

" No luck," he said. " I've an Ameri- 
can schedule as long as your arm." 

' Persecutions all the way?" 

" fVily a few at present," he answered, 
^*^ blowing away the disturbing vision 
of Whitehall in a puff of smoke from his 
pipe and coming back to reality with a 
visible jolt. " Quite a pretty bit of 
trouble in Doctor Nye, and an uncom- 
fortable shindy or two in Miracle. But 
I've been through worse times in the 
last couple of years." 

I thought of my last screen vision of 
Percy Marmont, nerve-wracked and 
broken in The Clean Heart, with the 
newspaper presses rolling over him, and 
the ghost of himself pointing the way 
to oblivion in the Thames. I told him 
so, and he laughed cheerily. 

" Yes," he said, " The Clean Heart 
ought to have been billed as featuring 
Percy the Persecuted. I think it was 
my high water mark of suffering. By 
the way, could you stand that man 
Wriford — didn't he strike you as a most 
unpleasant personage? If Blackton's 
technique hadn't interested me so much, 
I think " should have found the film 
horribly unsympathetic. But I don't 
mind telling you that it took some play- 
ing ! 

" I had a much easier time in The Light 

*• That Failed, where I had nothing 
to do but fall into a part which the 
real actors of the world have already 
prepared for popularity." 

'"Dick Heldar?' " 

" Yes. ' Dick Heldar slowly going 
hlind. What a part ! I—" 

Suddenly he stopped, looked wildly 
at his watch, and sank back into his 
chair. 

" What's the matter?" 

" Six-thirty. Appointment about a 
persecution at six- Never mind." 

" What are you going to do?" 

Have another . . . And we did. 
G. K. Selwyn. 



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70 



Pictxjre s and Pichjre poer 



FEBRUARY 1925 








Permanently 
enlarged by 
16 Pages! 

IN addition to the gorgeous 
cut-out Model, the Cigar- 
ette Cards, the Hobbies 
Page, the Adventure Stories, 
and all the other splendid 
features, "Toby" now gives 
the youngsters 16 pages de- 
voted toWonderful Playthings. 

NO INCREASE 
IN PRICE 



MONTHLY 





Abraham Lincoln (Ass. First Nat. 
Feb. 16). 
An animated biography of Lincoln, 
from his childhood to his assassina- 
tion. Sketchy but excellent on all 
points. The cast includes George A. 
Billings, Danny Hoy, Ruth Clifford, 
Nell Craig, Irene Hunt, Westcott B. 
Clark, Eddie Burns, Pat Hartigan, 
Otis Harlan, Louise Fazenda, William 
Humphrey, Eddie Sutherland, William 
Moran, Walter Roger, James Welch 
and Willis Marks. Don't miss it. 

Across the Border (Ducal; Feb. 2). 

Big Boy Williams in the stirring 
adventure story of a courageous cow- 
boy. Patricia Palmer opposite the 
star. Not a highly original story and 
quite good as Western entertainment. 

Along Came Ruth (Metro Goldwyn- 
Jury; Feb. 26). 
Romantic light comedy starring 
Viola Dana as a girl with plenty of 
pep who wakes up a small town and 
its inhabitants. Supporting Viola are 
Walter Hiers, Tully Marshall, Ray- 
mond McKee, Victor Potel, Gale 
Henry, De Witt Jennings and Adele 
Farrington. 

The , Arab (Metro-Goldnyn-Jury ; Feb. 
23). 
A pictorial treat consisting of an 
educational film of the Orient plus a 
conventional melodrama. Excellent 
atmosphere, also Alice Terry and 
Ramon Novarro directed by Rex 
Ingram. Cast includes Count Jean de 
Lemur, Maxudian, Paul Vermogal, 
Adelqui Millar, Alexandresco, Justa 
Uribe, Jerrold Robertshaw. Paul 
Francesci, and Guiseppe de Compo. 

The Breaking Point (Paramount; Feb. 
23). 
Based on Mary Roberts Rinehart's 
novel in which the millionaire hero 
forgets his past and develops a brand- 
new identity as the result of a shock. 
Matt Moore and Nita Naldi star, with 



Patsy Ruth Miller, George Fawcett, 
John Merkel, Theodore Von Eltz, 
Edythe Chapman, Milt Brown, Charles 
A. Stevenson and Naida Faro in sup- 
port. Good entertainment. 

Bright Lights and Shadows (Pathe; 
Feb. 2). 
All about a country girl's meteoric 
rise to theatrical success, and her subse- 
quent disillusion and return. Plenty 
of thrills, also Doris Kenyon, Lowell 
Sherman, Harrison Ford, Edmund 
Breese, Claire Dolorez, Effie Shannon 
and Tyrone Power. Not for the 
critical. 

Broadway or Bust (European; Feb. 16). 
Hoot Gibson away from his usual 
ranch, getting badly tangled up in a 
romance which would have been better 
treated as broad comedy. Gertrude 
Astor, Ruth Dwyer, King Zany, Stan- 
hope Wheatcroft, and Fred Malatesta 
support the star. Fair entertainment. 

Broken Barriers (Metro-Goldwvn-Jurv ; 
Feb. 16). 
A powerful problem drama of 
modern life dealing with the romance 
of a girl with unconventional ideas. 
All star cast comprises Norma 
Shearer, James Kirkwood, Adolphe 
Menjou, Mae Busch, George Fawcett, 
Robert Agnew, Ruth Stonehouse. 
Robert Frazer, Winifred Bryson, 
Edythe Chapman and Vera Reynolds. 
Good social drama. 

Butterfly (European; Feb. 23). 

A story of New York's fast set 
and a sister's devotion. Very 
well produced and played by Ruth 
Clifford, Laura La Plante, Ken- 
neth Harlan, Norman Kerry. Cesare 
Gravina, Margaret Livingstone, T. 
Roy Barnes and Freeman Wood. Good 
entertainment. 

The Dawn of a To-morrow (Para- 
mount; Feb. 19). 
Over-sentimental as a story bur 
excellent as to action, direction and 



FEBRUARY 1925 

photography. Adapted from Frances 
Hodgson Burnett's popular novel and 
play. Jacqueline Logan stars, sup- 
ported by David Torrence, Raymond 
Criffith, Roland Bottomley, Alma Ben- 
nett, Marguerite Clayton, Guy Oliver 
and Tempe Piggott. 

The Desert Outlaw (Fox; Feb. 9). 

Buck Jones and Evelyn Brent in a 
romantic Western drama about an in- 
nocent outlaw's sacrifice and a girl's 
love for an erring brother. William 
Hayes, De Witt Jennings, Diana 
Miller, Claude Payton and Robert 
Klein make up the cast. Fair enter- 
tainment. 

The Devil's Bowl (Gaumont; Feb. 19). 
Something new in Westerns. A 
tense drama of romance and mystery 
and a man who roamed the desert to 
avenge his sister. Neal Hart stars, 
with Kathleen Bennett, W. J. Allen, 
Krone Hale, Wm. McLaughlin, John 
Berk and Gertrude Ryan in suppori. 
Excellent entertainment. 

The Eleventh Commandment (Gau- 
mont; Feb. 2). 
Rather an unconvincing theme of 
family pride and a sister's sacrifice 
redeemed by good acting and produc- 
tion. Fay Compton and Stewart 
Rome share stellar honours, and are 
supported by Lilian Hall-Davis, Jack 
Hobbs, Charles Quartermain, Brian 
Ahem, Louise Hampton and Dawson 
Millward. Fair entertainment. 

The Family Secret (European; Feb. 9). 
A skilful blend of Baby Peggy and 
a melodramatic story by Frances 
Hodgson Burnett about a child who 
was always in the way. The cast in- 



Pict\jre s and Picture $oer 



71 



eludes Gladys Hulrttr, Edward Earlc, 
Frank Currier. C c.sarc llr.ivin.i, 

Martin Turner, Elisabeth Mackey, 
Martha Mattox, Milla Davenport and 
Lucy Beaumont Good entertainment 

Fight and Win (European; Feb 2). 

Ten two reelers featuring 
Dempsey, the heavyweight champion. 
On The Leather Pushers lines, though 
not quite so joyous. Besides the star, 
the permanent cast comprise! Eiayden 
Stevensen, George Ovey, Chuck 
Reisner, Ed Kennedy, and Esther 
Ralston. Good entertainment. 

Find Your Man (Gaumont; Feb. 9). 

Rather stereotyped Western lumber 
melodrama redeemed by the attractive 
work of Rin-Tin-Tin, the dog star. 
June Marlowe, Eric St. Clair, Charles 
Hill Mailes, Pat Hartigan, Fred Stan- 
ton, Lew Harvey and Charles Conklin 
act well. Good melodramatic fare. 

For Sale (Ass. First Nat.; Feb. 2). 

A screen indictment of society mar- 
riage customs in which a girl is placed 
on the matrimonial market to save her 
parents from bankruptcy. The fine 
cast includes Claire Windsor, Adolphe 
Menjou, Robert Ellis, Mary Carr, 
Tully Marshall, Vera Reynold, Phillips 
Smallery, Christine Mayo, Frank 
Elliott, and Marga La Rubia. Fair 
social drama. 

The Girl in the Limousine (IV. & F.; 
Feb. 16). 
Six reels of Larry Semon in his 
usual comical stunts providing good 
entertainment for those who like pro- 
longed knockabout farce. Claire 
Adams opposite Larry, also Charlie 
Murray, Lucille Ward, Oliver Harding. 




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Pict\ire s and Pichjre $oer 



FEBRUARY 1925 




Norma Shearer and Tames Kirkwood in ' 
Barriers." 

The Guilty One {Paramount; Feb. 16). 
Excellent mystery drama, well 
directed, and developed, and played by 
Agnes Ayres, Edward Burns, Stanley 
Taylor, Crauford Kent, Cyril Ring, 
Catherine Wallace, Clarence Burton, 
and George Seigman. 

Hearts of Oak {Fox; Feb. 16). 

Hobart Bosworth in a melodrama of 
love and sacrifice, containing some fine 
Arctic and storm scenes and a wireles" 
finale. The supporti. cast include 
Pauline Starke, Theodore Von Eltz, 
James Gordon, Francis Powers, Jennie 
Lee and Francis Ford. Not for the 
over critical. 

Hold Your Breath {Gaumont; Feb. 9). 

An excellent thrill comedy with 
some really breath-taking stunts per- 
formed by Dorothy Devore, ably 
assisted by Walter Hiers, Tully Mar- 
shall, Jimmie Adams, Priscilla Bonner, 
Jimmie Harrfson, Patricia Palmer, 
Max Davidson, Jay Belasco, Budd 
Fine and Eddie Baker. 

In Fast Company {Unity; Feb. 16). 

A merry whirl of fast action 
comedy with Dick Talmadge living up 
to his title of " the mile a minute star." 
Mildred Harris opposite, also Sheldon 
Lewis, Charles Clarey, Douglas Ger- 
rard, Lydia Yeamans Titus, Snitz 
Edwards, Marshall Ruth and Max 
Ascher. 

Konigsmark {IV. & F.; Feb. 2). 

Elaborate romantic drama based on 
the disappearance of Konigsmark in 
George I reign. Huguette Dufios 
is the star, with Georges Vaulter, 
Henri Houry, Marcya Capri, and 
Jaque Catelain in support. Good 
sentimental fare. 

The Humming Bird {Paramount; Feb. 
9). 
An apache story of the Parisian 
underworld and the Great War, not 
over original, but well told and full of 
punch. Excellent acting and photo- 
graphy. Gloria Swanson stars with 
Edward Burns and William Ricciardi, 
Mario Majeroni, Mdme. D'Ambri- 
court, Helen Lindworth, Cesare 
Gravina and Jacque L'Amery. Ex- 
cellent entertainment. 



The Love Story of 
Aliette B r u n t o n 

{Stoll; Feb. 23). 
The first Gilbert 
Frankau story to be 
screened, a strong tri- 
angle drama well 
directed and acted by 
Isobel Elsom (in a dual 
role), Lewis Gilbert, 
Henry Victor, James 
Carew, Minnie Leslie, 
Mrs. Hayden Coffin, 
and H. Humberston 
Wright. 

The Man With the Iron 
Mask {W. and F.; 
Feb. 23). 

Broken A fine French histori- 

cal drama based on the 
Dumas story and featur- 
ing Vladimir Gaidarow. Somewhat 
heavy entertainment. 

Married People {Wardour; Feb. 2). 

Mabel Ballin and Percy Marmont in 
an after marriage story of a woman 
and two men. Ernest Hillard, Bobby 
Clarke, Dick Lee, Bertha Kent, J. 
Well Dillon and Louis Dean. 

North of Nevada {Pathe; Feb. 16). 

Fred Thompson and " Silver King," 
his horse in a fine stunt Westerner 
with many original touches and plenty 
of punch. Hazel Keener, Josef 
Swickard, Taylor Graves, Wilfred 
Lucas, Joe Butterworth, Chester 
Conklen and George Macgill support 
the star. 

Outwitted {Phillips; Dec. 16). 

Eugene O'Brien in a rather slight 
story of a crooked land deal that re- 
sulted eventually in a victory for the 
proposed victim. Fair entertainment. 

The Painted Lady {Fox; Feb. 2). 

A melodrama of contrasts in which 
a girl criminal finds regeneration 
on a South Sea Island. Dorothy 
Mackaill and George O'Brien star, 
with Harry T. Morey, Lucien Little- 
field, Lucille Ricksen, Frank Elliott, 
Margaret McWade and Kate Toncray 
in support. 

The Passionate Adventurer {Gaumont; 
Feb. 23). 
Alice Joyce and Clive Brook in a 
strong drama of London life. Uncon- 
vincing but well produced, photo- 
graphed and played. Supporting cast 
includes Marjorie Daw, Victor Mac- 
Laglen, Lillian Hall Davis, J. R. 
Tozer, Mary B rough and John 
Hamilton. 

Ridgeway of Montana {European; Feb 

Jack Hoxie in a fast moving Wes- 
terner which opens up as a romance 
and finishes as a thriller. Olive 
Hasbrouk opposite the star, also 
Herbert Fortier, Lou Meehan, Charles 
E. Thurston, Pat Harmon and Pierre 
Gendron. Good entertainment. 

The Stirrup-Cup Sensation {Butcher; 
Feb. 26). 
Violet Hopson and Stewart Rome in 



a Campbell Rae Brown racing drama 
with a startling climax. Judd Green, 
Cameron Carr, Gertrude Sterroll, 
Fred Hearne, James Stacey, Bob 
Vallis and " Peter " also appear. Good 
entertainment. 

Single Wives {Ass. First Nat.; Feb. 9). 
Treats of a pair of neglected wives 
and of how a broken leg brings happi- 
ness. Corinne Griffith and Milton Sills 
star, with Kathlyn Williams, Phyllis 
Haver, Phillips Smalley, Joe Austin. 
Lou Tellegen, H. B. Walthall and John 
Patrick in support. Excellent acting 
and quite good social drama. 

Slim Shoulders {Wardour; Feb. 16). 

Drama concerning a girl who had 
to disguise herself and burgle her 
lover's house to recover a vital docu- 
ment belonging to her father. Irene 
Castle and Rod La Rocque star, with 
Warren Cook, Marie Burke, Mario 
Carillo, Anders Randolf and Matthew 
Betz in support. Fair entertainment. 

Terror {Ducal; Feb. 23). 

Pearl White's last film to date, a 
crook melodrama with Parisian set- 
tings not nearly up to the star's usual 
offering, although, she, herself, is 
charming. For Pearl White fans 
only. 

Tess of the D'Urbervilles {Metro- 
Goldwyn-Jury; Feb. 9). 
Will cause great grief to Hardy 
lovers, as it has been modernised and 
mis-cast. It contains the most artistic 
screen murder we've yet seen, also 
much fine acting by Blanche Sweet, 
Conrad Nagel, George Fawcett, Vic- 
tory Bateman, Courtney Foote, Jos. J. 
Dowling, and Stuart Holmes. Tragic 
entertainment. 

The Thief of Bagdad {Allied Artists; 
Feb. 2). 
Douglas Fairbanks in his beautiful 
screen fantasy, in which an Arabian 
Nights thief reforms for love of a 
princess. Wonderful settings and trick 
photography and a good cast compris- 
ing Julanne Johnstone. Snitz Edwards. 
Anna May Wong, Winter Blossom 
Brandon Hurst, Etta Lee, So-Jin 
Noble Johnson, M. Comant, Charles 
Stevens and Sam Baker. Excellent 
fairv tale fare. 

Three Women {Gaumont; Feb. 19). 

Pauline Frederick, Marie Prevost, 
May McAvoy, Lew Cody, Willard 
Louis, Mary Carr, and Pierre Gendron 
in a Lubitsch feature brilliantly 
directed and acted. Story is common- 
place, wandering from subtle modern 
character studies into sentimental 
melodrama. Excellent, though sophis- 
ticated fare. 

Tiger Thompson {F. B. 0.; Feb. 9). 

A. story of hidden plunder with some 
fine rescues and fighting scenes. 
Harry Carey stars, supported by Mar- 
garet Clayton, John Dillon and Jack 
Richardson. Good entertainment. 



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74 



Picture s and Pichure pver 



FEBRUARY 1925 



MY TRIP ABROAD 

{Continued from page 22.) 

Rome, September 10th. 
[ ast night we had another fascinating 
evening. We dined with the Baron 
Fassini in his apartment in the Plazzo 
Titoni, and from there we motored to 
his castle at Nettuno. 

It is an hour and a half drive from 
Rome, right along the sea coast. The 
sea coast of Italy ! And the castle is 
rebuilt from the original plans found 
in the original ruins. 

I walked through, the moonlight. 

And a creepy feeling came over me. 
I felt that these walls, if they could only 
speak, could tell tremendous tales, still 
fascinating. 

I think that it would fascinate me to 
live in such a place. Perhaps I have 
very steady nerves, or, even, an 
imagination that needs such stimuli. But 
1 have always felt strangely akin and at 
Lome in places of this kind. 

We had a delightful supper at the 
castle. Certainly the possibility of 
ghosts didn't affect my appetite, nor 
Natacha's, either. That much >I can 
testify to, with positiveness. It is a 
marvellous spot, and one to which 
Mussolini often goes for a rest. The 
Baron showed us the room where 
Mussolini sleeps when he goes there. 

The baron told me that any time I 
might care to make pictures there, he 
would be happy to let me use the whole 
castle if I needed it for sets. It is 
rebuilt as it was in the 'eleventh century. 

It was a delightful evening, steeped in 
atmosphere and the aroma of 
reminiscence that made the ancient 
splendours live again, almost as though 
the peoples who had been there were 
come back again. Secret doors and 
dungeon fastnesses, dim, ghostly corri- 
dors and vaulted dining halls . . . 
baronial splendours brought to date 
without the sacrifice of the dead hands 
that had wrought them and the dead 
spirits that had inhabited them. Only 
a great imagination, directing master 
hands, would have achieved this result. 

It would be a glorious thing to make 
a picture there, and some day I hope to 
do so. No critic. I feel sure, would ever 
be able to complain of lack of authen- 
ticity, were a picture of that period to 
be made in this castle at Nettuno. 

I have not met Premier Mussolini and 
my time is now so brief that I fear this 
pleasure is to be denied me. A dinner 
was to have been arranged in order for 
me to meet him, and they wanted us to 
remain longer, but when we returned 
to the hotel to-night, we found some 
telegrams awaiting us that had to be 
attended to and Natacha has decided 
that she will go back to Nice. 

I couldn't, I can't go back very well, 
without losing at least three-quarters of 
the purpose of my trip, which is to 
go to my home town and to see all of 
my family. We talked it over and 





F " - f. 

1 % *W; 




Another "snap" taken before Comincndatore's Ambrosio's 
producer is the first figure on the left. 



Quo Vadis" sets; the 



decided that for me to go back would 
be sheer nonsense. In a way, Natacha. 
much as she loves Italy, is not sorry to 
go, I think. She hates open cars and 
the dusty roads (not to mention my 
driving), and so to-morrow evening 1 
shall put her on the train, a sleeper, to 
Nice. Auntie will remain with me and 
she and my sister and I will go on 
together. 

I will write to-morrow after Natacha 
has gone. 

Rome, September Wth. 
^Tatacha has gone. 

I am alone to-day for the first 
time in many months- I could write a 
dissertation on loneliness if I had the 
time. It is like a mist from the sea 
striking chill to the bone. 

In an hour or two we start for 
Campo Basso, where my brother is. 
Auntie, my sister and I. Auntie and 
my sister have arranged to sit together 
in the back seat of the car so that they 
may not know the worst that the road 
(and again my driving!) has to hold 
for them. Natacha says that I am either 
neurotic about my prowess at the wheel, 
or else that I .have a guilty conscience, 
else I would not dwell so constantly 
upon it. I tell her that my record 
speaks for me. I have nothing to say. 

Now for the next lap of the journey ! 

Campo Basso, September I2tk. 
YY/e had a wonderful road yesterday, 
from Rome to Campo Basso. I 
found myself wishing desperately that 
Natacha had been along to observe my 
tactics on that unwontedly good stretch 
of road. And there was marvellous 
scenery on the way there. Almost im- 
possible to describe. The landscape 
kept shifting all of the time and one 
would have to have a kaleidoscope for 



a mind to be able to do it justice. Shill- 
ing beauty . . . colours that dissolved 
into other colours . . . grandeurs that 
gave way to grandeurs . . . 

Even the people kept changing, as is 
the way in my country. Their cos- 
tumes, their customs, their official 
languages. Their dialects, even. So 
that it was one panorama of continual 
change. 

Cities have a beauty that is as mar- 
vellous as the beauty of the country- 
sides to me. They are enchanted spots 
if you see them with your eyes half 
closed. Pinnacles, towers and turrets, 
opalescent and serene, piercing the very 
skies with a kind of a daring and 
courage that is breathtaking. They are 
none the less majestic because they are 
man-made, for they are born of tower- 
ing dreams and inspired, even though 
unconsciously, by the turrets of high 
mountains, the lift of rock foundations, 
the sweep of ancient pyramids. 

And so I won't attempt the volumes 
here . . . some day, perhaps, when I 
am an old man with a long white beard 
and my fund of picture reminiscences 
has run out, I shall return to the scenes 
of splendour I have traversed on this 
trip and give my picture of it to a wait- 
ing world. 

We did see, however, a very interest- 
ing sight as we neared Campo Basso 
in the province of Abruzzi in the 
Appenines. The country people here- 
abouts have still preserved their ancient 
and ancestral costumes as well as the 
like customs. On this particular day 
they were just coming back from a 
ficra, or market day. From the hamlets 
and small villages round about they go, 
driving their cattle, their pigs, carrying 
their produce, whether of the loom, or 
the fields, or the vineyards, their milk 
and cheese to sell, everything they have 






FEBRUARY 1925 



Pictures an d Pi cf~\j reaver 



75 



And also to buy there what they will 
need for some time to come. It i>, .1 
medieval sight and rich with atmos- 
phere and colour. It seems more like a 
page out of some old medieval volume 
than an actual sight seen in this modern 
twentieth century. 

We met them all as they were coming 
back. They were dressed in gaudy, 
colourful clothes, most of them were 
carrying things on their heads. Few of 
them have carts, and so they walk, those 
who have carts driving ahead of them 
w.hat they have bought. It was a very 
interesting sight to me and at po time 
during my trip did I so wish for a 
mo'ion picture camera as I did during 
that hour. There were marvellous types 
there. Marvellous colouring of 

costumes. Some of the very young girls 
were perfect types, the most *erfect 1 
have yet seen. 

"The general type runs to very white 
teeth, hair as black as the blackest 
part of the light, piled .and worn 
straight down, dazzling complexions 
that seem to have caught and combined 
the warm Italian sun, the full-flooded 
moon, the tinge of the grape. I said to 
my sister and to Auntre that a motion 
picture director looking for types would 
find a veritable wealth of material here. 
All sorts of types, too, not only the 
young beauty type. Character types. 
Old men. Old women. Mothers with 
tiny babes clinging to their skirts, to 
their hands and arms and knees. 

And I .have never seen anything of 
this sort in a picture. That is why I 
believe that if you are to take a picture 
having to do with Italy or any other 
country, want locales, want special 
types of character, the only place that 
it can be truly and rightly done is in 
that special country. 

People say, " But why travel ? We 
can build the locales. We can imitate 
the types." Maybe . . . maybe .... 
but I don't think so. Not for the people 
who know. And it is, I think, a com- 
mon tendency to undervalue what the 
fans know. They know more than they 
often charitably, say that they know. 
What you build isn't it, when all is said 
and done. It is mere imitation and while 
imitation may be flattery, 
may be ingenuity, may be 
skilful, may even be past 
detection, it isn't the thing 
itself. It can't be. Besides, 
these true types on the 
screen would be immensely 
interesting to everyone. 
And I hope some day that 
if I do a picture with an' 
Italian setting, and a call for' 
these types, I can do it here, 
where these types are, so 
that people in America will 
see something new. Real 
nature. Not people and 
places made up to look like 
nature and deceiving fewer 
than they think. 

I am glad we were 
lucky to see this fleta, for 



my aunt had beard about the fiestas, 

but had never seen them She was 

very enthusiastic about it all and so 
glad she had had the opportunity to 

■ee n. 

We kept OB after that slight digres- 
sion at the fitto, where we loitered 

along, picking out this or tb.it type and 
asking and answering innumerable quel 
tions and arrived at CampO Basso at 
5.30 that evening. 

We went straight to my brother's 
house without any preliminary tele- 
phoning or message and went, also, 
straight up the stairs. 

As I opened the door, I saw, the first 
thing, a little bit of a boy about nine 
years old. He just looked at me once, 
straight in the eyes, and said " Uncle 
Rudie!" I said, "Yes!" and then he 
made a fast spring, nothing short of 
marvellous in its agility and direct aim, 
and was about my neck, hugging me 
tight. 

I had never seen him before, of 
course, as he was born while I was in 
America. 

After the outburst of this first meet- 
ing he calmed down comparatively, and 
began asking me all sorts of rapid-fire 
questions : 

" Have you any dollars in your 
pockets? 

" What do they look like? 

" How did you come?" 

tried to answer the questions as 
rapidly and as succintly as he put 
them, but I was hard put to it to keep 
up with him, I will admit. 

When I answered the last question, 
saying, " By automobile," he detached 
himself from me and scampered down 
the stairs. Crazy about auto- 
mobiles. Like I was when I was a 
kid. Automobiles, cattle and horses. 
That's all I really cared about when I 
was his age. 

Then I turned to my sister-in-law, 
who had, perforce, remained in the 
background while the effusions of her 
son went on. She had really had no 
chance to interrupt and I had had no 
opportunity to as much as shake hands 
or say- " How d'you do." 
(Another lonq instalment, next month). 

Italy abounds in views 
like tiiU 




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76 



Picture s and Pichure poer 



FEBRUARY 1925 



MERTON OF THE MOVIES 

{Continued from page 17.) 



to him meant the announcement that 
Amos expected a new line of white 
goods on the morrow, or Mrs. Gash.- 
wiler's version of a regrettable incident 
occurring at that afternoon's meeting 
of the Entre Nous Five Hundred Club, 
in which the score had been juggled 
adversely to Mrs. Gashwiler, resulting 
in the loss of the first prize, a handsome 
fern dish, and concerning which Mrs. 
Gashwiler had thought it best to speak 
her mind? What importance could he 
attach to the disclosure of Metta Jud- 
son, the Gashwiler hired girl, who 
chatted freely during her appearances 
with, food, that Doc Cummins had said 
old Grandma Foutz couldn't last 
out another day; that the Peter Swan- 
sons were sending clear to Chicago for 
Tilda's trousseau; and that Jeff Mur- 
dock had arrested one of the Giddings 
boys, but she couldn't learn if it was 
Ferd or Gus, for being drunk as a fool 
and busting up a bazaar out at the Oak 
Grove schoolhouse, and the fighting was 
something terrible. 

Scarcely did he listen to these petty 
recitals. He ate in silence, and when he 
had finished the simple meal he begged 
to be excused. He begged this in a 
lofty, detached, somewhat weary 
manner, as a man of the world, exces- 
sively bored at the dull chatter, but still 
the fastidious gentleman, might have 
begged it, breaking into one of the many 
repetitions by his hostess of just what 
she had said to Mrs. Judge Ellis. He 
was again Clifford Armytage, enacting 
a polished society man among yokels. 
He was so impressive, after rising, in 
his bow to Mrs. Gashwiler that Amos 
regarded him with a kindling suspicion. 

"Say!" he called, as Merton in the 
hall plucked his rakish plush hat from 
the mirrored rack. " You remember, 
now, no more o' that skylarkin' with 
them dummies ! Them things cost 
money." 

IV/Ierton paused. He wished to laugh 
sarcastically, a laugh of withering 
scorn. He wished to reply in polished 
tones, " ' Skylarkin ' ! You poor, dull 
clod, what do you know of my ambi- 
tions, my ideals? You, with your petty 
life devoted to gaining a few paltry 
dollars!" But he did not say this, or 
even register the emotion that would 
justly accompany such a sub-title. He 
merely rejoined : 

" All right, sir, I'm not going to 
touch them," and went quickly out. 
"Darned old grouch!" he muttered as 
he went down the concrete walk to the 
Gashwiler front gate. 

Here .He turned to regard the two- 
storey brick house and the square of 
lawn with a concrete deer on one side 
of the walk, balanced by a concrete 
deer on the other. Before the ga f c 
was the cast-iron effigy of a small 
Negro in fantastic uniform, holding an 
iron ring aloft. The Gashwiler carriage 
horse had been tethered to this in the 



days before the Gashwiler touring car 
had been acquired. 

"Dwelling of a country storekeeper !" 
muttered Merton. " That's all you are !" 

This was intended to be scornful. 
Merton meant that on the screen it 
would be recognised as this and nothing 
more. It could not be taken for the 
mansion of a rich banker, or the country 
home of a Wall Street magnate 



relentlessly by it without slackening 
speed, the mail bag being flung to the 
depot platform. But sometimes there 
would be a passenger for Simsbury, 
and the proud train would slow down 
and halt reluctantly, with a, grinding of 
brakes, while the passenger alighted. 
Then a good view of the train could be 
had; a line of beautiful sleepers ter- 
minating in an observation car, its 
rear platform guarded by a brass- 
topped railing behind which the privi- 
leged lolled at ease; and up ahead a 
wonderful dining-car, where dinner was 



He 
felt that he had been keen in his dis- 
praise, especially as old Gashwiler b ? in S served; flitting white-clad waiters, 

would never get the sting of it. Clod f* ' he gl , ltter ?, Sllver and cr y stal and 

damask, and favoured beings feasting 
at their lordly ease, perhaps denying 
even a careless glance at the pitiful 
hamlet outside, or at most looking out 
impatient at the halt, or merely staring 
with incurious eyes while awaiting 
their choice foods. 

Not one of these enviable persons 
ever betrayed any interest in Simsbury, 
or its little group of citizens who daily 
gathered on the platform to do them 
honour. Merton Gill used to fancy 
that these people might shrewdly detect 
him to be out of place there — might 



""Three blocks brought him to the 
heart of the town, still throbbing 
faintly. He stood, irresolute, before 
the Giddings House. Chairs in front 
of this hostelry were now vacant of 
loafers, and a clatter of dishes came 
through the open windows of the 
dining-room, where supper was on. 
Farther down the street Selby Brothers, 
Cigars and Confectionery, would be 
open ; lights shone from the windows 
of the Fashion Pool Parlour across the 




" These comedies make me tired," said Merton. " I never see one if I can help it." 



way; the City Drug Store could still 
be entered; and the post office would 
stay open until after the mail from 
No. 4 was distributed. With these except- 
ions the shops along this mart of trade 
were tightly closed, including the Gash- 
wiler Emporium, at the blind front of 
which Merton now glanced. 

Such citizens as were yet abroad 
would be over at the depot to watch 
No. 4 go through. Merton debated 
joining these sightseers. Simsbury was 
too small to be noticed by many trains. 
It sprawled along the track as if it had 
been an afterthought of the railroad. 
Trains like No. 4 were apt to dash 



perhaps take him to be an alien city 
man awaiting a similar proud train 
going the other way standing as 
he would aloof from the obvious 
villagers, and having a manner, 
a carriage, an attire, such as 
further set him apart. Still, he could 
never be sure about this. Pchaps no 
one ever did single him out as a being 
patently of the greater w^rld. Perhaps 
they considered that ne was rightly of 
Simsbury and would continue to be a 
part of it all the days of hi? life; or 
perhaps they wouldn't notice him at all. 
They had been passing Simburys all day 
and all Simsburys and all 



FEBRUARY 1925 

their peoples must look very 
much alike to them. Very well — a 
day would come. There would be at 
Simsbury a momentous stop of No. 4 
and another passenger would be in that 
dining-car, disjoined for ever from 
Simsbury, and he with them would stare 
out of the polished windows at the 
gaping throng, and he would continue 
to stare with incurious eyes at still 
other Simsburys along the right of way, 
while the proud train bore him\off to 
triumphs never dreamed of by natural- 
born villagers. 

He decided now not to tantalize 
himself with a glance at this splendid 
means of escape from all that was 
sordid. He was still not a little de- 
pressed by the late unpleasantness with 
Gashwiler, who had thought him a 
crazy fool, with his revolver, his 
fiercely muttered words, and his hold- 
ing aloft of a valuable dummy as if to 
threaten it with destruction. Well, 
some day the old grouch would 
eat his words ; some day he would be 
relating to amazed listeners that he 
had known Merton Gill intimately at 
the very beginning of his astounding 
career. That was bound to come. 
But to-night Merton had no heart for 
the swift spectacle of No. 4. Nor 
even, should it halt, did he feel up to 
watching those indifferent, incurious 
passengers who little recked that a 
future screen idol in natty plush hat 
and belted coat amusedly surveyed 
them. To-night he must be alone — 
but a day would come. Resistless 
Time would strike his hour ! 

Ctill he must wait for the mail be- 
^ fore beginning his nightly study. 
Certain of his magazines would come 
to-night. He sauntered down the 
deserted street, pausing before the 
establishment of Selby Brothers. From 
the door of this emerged one Elmer 
Huff, clerk at the City Drug Store. 
Elmer had purchased a package of 
cigarettes and now offered one to 
Merton. 
"'Lo, Mert! Have a little pill?" 
" No thanks," replied Merton firmly. 
He had lately given up smoking — 
save those clandestine indulgences at 
the expense of Gashwiler— because he 
was saving money against his great 
day. 

Elmer lighted one of his own little 
pilh and made a further suggestion. 

" Say, how about settin' in a little 
game with the gang to-night after the 
store closes — ten-cent limit?" 

" No, thanks," replied Merton, again 
firmly. 

He had no great liking for poker at 
any limit, and he would not subject his 
savings to a senseless hazard. Of 
course he might win, but you never 
could tell. 

" Do you good," urged Elmer. 
" Quit at twelve sharp, with one rourtd 
of roodles." 

" No, I guess not," said Merton. 
"We had some game last night, I'll 
tell the world! One hand we had 



Pictures and P/chjrepver 



four jacks. OUt Sgaitttl t*>ut ■*•§, Mid 
n>;tu alter that 1 held four luii^s 
.i^.uust an ace full. Say, MM tunc 
there I was about two-eighty to tin 
good, but 1 didn't have e&OUffh scum 
to quit. Hear about tins Giddin's? 
They got him over in the OOOp for 
breaking in on a social out at the Oak 
Grove schoolhouse last night Say, he 
had a peach on when he left here, I'll 
tell the world ! But he didn't get far. 
Them Grove lads certainly made a be- 
liever out of him. You ought to see- 
that left eye of his !" 

Merton listened loftily to this village 
talk, gossip of a rural sport who got 
a peach on and started something — 
And the poker game in the back room 
of the City Drug Store ! What diver- 
sions were these for one who had a 
future? Let these clods live out their 
dull lives in their own way. But not 
Merton Gill, who held aloof from their 
low sports, studied faithfully the 
lessons in his film-acting course, and 
patiently bided his time. 

He presently sauntered to the post 
office, where the mail was being dis- 
tributed. Here he found the sight- 
seers who had returned frorn the treat 
of No. 4's flight, and many of the less 
enterprising citizens who had merely 
come down for their mail. Gashwiler 
was among these, smoking one of his 
choice cigars. He was not allowed to 
smoke in the house. Merton, knowing 
this prohibition, strictly enforced by 
Mrs. Gashwiler, threw his employer a 
glance of honest pity. Briefly he per- 
mitted himself a vision of his own 
future home — a palatial bungalow in 
distant Hollywood, with expensive 
cigars in elaborate humidors and costly 
gold-tipped cigarettes in silver things 
on low tables. One might smoke 
freely there in every room. 

Under more of the Elmer Huff sort 
of gossip, and the rhythmic clump of 
the cancelling stamp at the back of the 
drawers and boxes, he allowed himself 
a further glimpse of this luxurious 
interior. He sat on a low couch, 
among soft cushions, a magnificent 
bearskin rug beneath his feet. He 
smoked one of the costly cigarettes 
and chatted with a young lady inter- 
viewer from Photo Land. 

" You ask of my wife," he was 
saying. " But she is more than a wife 
— she is my best pal, and, I may add, 
she is also my severest critic." 

Lie broke off here, for an obsequious 
*■ Japanese butler entered with a tray 
of cooling drinks. The tray would be 
gleaming silver, but he was uncertain 
about the drinks; something with long 
straws in them probably. But as to 
anything alcoholic now — While he 
was trying to determine this the 
general-delivery window was opened 
and the interview had to wait. But, 
anyway, you could smoke where you 
wished in that house, and Gashwiler 
couldn't smoke any closer to his house 
than the front porch. Even trying it 
there he would be nagged, and fussily 




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a fijdden sprjrrg of 
^xnfT/jsjte ef^HsVir;* 

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78 



PicF\ire s and Pichjre $uer 



FEBRUARY 1925 



asked why he didn't go out to the barn. 
He was a poor fish, Gashwiler; a 
country storekeeper without a future. 
A clod! 

Merton, after waiting in line, ob- 
tained his mail, consisting of three 
magazines — Photo Land, Silver 
Screenings, and Camera. As he 
stepped away he saw that Miss Tessie 
Kcarns stood three places behind the 
line. He waited at the door for her. 
Miss Kearns was the one soul in Sims- 
bury who understood him. He had 
confided to her all his vast ambitions ; 
she had sympathised with them, and 
her never-failing encouragement had 
done not a little to stiffen his resolution 
at odd times when the haven of Holly- 
wood seemed all too distant. A cer- 
tain community of ambitions had been 
the foundation of this sympathy be- 
tween the two, for Tessie Kearns 
meant to become a scenario writer of 
eminence, and, like Merton, she was 
now both studying and practising a 
difficult art. She conducted the mil- 
linery and dressmaking establishment 
next to the Gashwiler Emporium, but 
found time, as did Merton, for the 
worth-while things outside her narrow 
life. 

Che was a slight, spare little figure, 
sedate and mouselike, of middle age 
and, to the village, of a quiet, sober 
way of thought. But, known only to 
Merton, her real life was one of 
terrific adventure, involving crime of 
the most atrocious sort, and contact 
not only with the great and good, but 
with loathsome denizens of the under- 
world who would commit any deed for 
hire. Some of her scenarios would 
have profoundly shocked the good 
people of Simsbury, and she often 
suffered tremors of apprehension at 
the thought that one of them might 
be enacted at the Bijou Palace right 
there on Fourth Street, with her name 
brazenly announced as author. Sup- 
pose it were Passion's Perils ! She 
would surely have to leave town after 
that ! She would be too ashamed to 
stay. Still she would be proud, also, 
for by that time they would be calling 
her to Hollywood itself. Of course 
nothing so distressing — or so grand — 
had happened yet, for none of her 
dramas had been accepted ; but she was 
coming on. It might happen any time. 

She joined Merton, a long envelope 
in her hand and a brave little smile 
on her pinched face. 

"Which one is it?" he asked, refer- 
ring to the envelope. 

" It's Passion's Perils," she answered 
with a jaunty affectation of amuse- 
ment. " The Touchstone-Blatz people 
sent it back. The slip says its being 
returned doesn't imply lack of merit." 

"I should think it wouldn't!" said 
Merton warmly. 

He knew Passion's Perils. A com- 
pany mig;ht have no immediate need 
for it, but its rejection could not 
possibly imply a lack of merit, because 
the merit was there. 



They walked on to the Bijou Palace. 
Its front was dark, for only twice a 
week, on Tuesdays and Saturdays, 
could Simsbury muster a picture 
audience; but they could read the bills 
for the following night. The entrance 
was flanked on either side by bill- 
boards, and they stopped before the 
first. Merton Gill's heart quickened 
its beats, for there was billed none 
other than Beulah Baxter in the ninth 
instalment of her tremendous serial, 
The Hazards of Hortense. 

It was going to be good ! It almost 
seemed that this time the scoundrels 
would surely get Hortense. She was 
speeding across a vast open quarry in 
a bucket attached to a cable,, and one 
of the scoundrels with an axe was 
viciously hacking at the cable's farther 
anchorage. It would be a miracle if 
he did not succeed in his hellish design 
to dash Hortense to the cruel rocks 
below. Merton, of course, had not a 
moment's doubt that the miracle would 
intervene; he had seen other serials. 
So he made no comment upon the 
gravity of the situation, but went at 
once to the heart of his ecstasy. 

" The most beautiful woman on the 
screen," he murmured. "And look at her 
nerve ! Would your others have as 
much nerve at that?" 

" Maybe she has some one to double 
in those places," suggested the screen- 
wise Tessie Kearns. 

" Not Beulah Baxter. Didn't I see 
her personal appearance that time I 
went to Peoria last spring on purpose 
to see it? Didn't she talk about the 
risk she took and how the directors 
were always begging her to use a 
double and how her artistic convic- 
tions wouldn't let her do any such 
thing?" 

""Phey passed to the other billboard. 
This would be the comedy. A pain- 
fully cross-eyed man in misfitting 
clothes was doing something supposed 
to be funny — pushing a lawn-mower 
over the carpet of a palatial home. 

"How disgusting!" exclaimed Miss 
Kearns. 

"Ain't it?" said Merton. "How 
they can have one of those terrible 
things on the same bill with Miss 
Baxter — I can't understand it." 

Those censors ought to suppress this 
sort of buffoonery instead of scenes of 
dignified passion like they did in 
Scarlet Sin, declared Tessie. 

" They sure ought," agreed Merton. 
" These comedies make me tired. I 
never see one if I can help it." 

Walking on, they discussed the 
wretched public taste and the wretched 
actors that pandered to it. The slap- 
stick comedy, they held, degraded a 
fine and beautiful art. Merton was 
especially severe. He always felt un- 
comfortable at one of these regret- 
table exhibitions when people about 
him who knew no better laughed 
heartily. He had never seen anything 
to laugh at. and said as much. 
(To be continued). 



THE WAY 
THEIR MONEY GOES 

(Continued from page 50.) 

Elinor Glyn and Conway Tearle 
have incorporated themselves so that 
they cannot write cheques indiscrimi- 
nately for all who bring them a tale 
of woe, as they did formerly, without 
first calling a meeting of the board of 
directors ! In Conway's case, both 
his wife and his lawyer have to sign 
a cheque before he can get cigarette 
money ! 

.Mrs. Buck Jones takes charge of 
Buck's pay envelope and doubles it by 
clever trading at the Horse and Mule 
Market every morning. But she 
allows Buck spending money for pedi- 
greed police dogs and blooded riding 
horses. 

A substantial part of Jack Holt's 
income goes toward keeping a stable 
of six polo ponies. 

George O'Hara has two massive 
hand-carved phonographs in his living- 
room, one, he explains, for jazz, tie 
other for music. Milton Sills is lost 
when he sees a fifty dollar iris bulb or 
rare gladiolus for his garden. Robert 
Frazer's radio set fills one room in his 
bungalow. Cullen Landis finances a 
ball team, not as a paying investment, 
but because he was a kid himself not 
so long ago. 

Automobiles are hardly to be ac- 
counted luxuries these days, when 
the butcher, the baker and the candle- 
stick maker possess them, but many of 
the movie stars' autos are built en- 
tirely to order, and some have solid 
gold metal parts ! Barbara La Marr 
owns six imported cars, Tom Mix 
possesses five. Jack Gilbert has a 
hobby for collecting accessories for 
his two cars. On the other hand, 
Adolphe Menjou, the polished man of 
the world, whom one would expect to 
see driven in a limousine with a 
uniformed chauffeur, bumps over 
Hollywood ruts and thank-you-marms 
in a little coupe with " My Fourth 
Ford " printed on the tire carrier 
behind ! 

Pola Negri banks most of her 
money. Her European mind trans- 
lates American dollars into the coin of 
her native Poland. Some day Pola 
will go back home and be immensely 
wealthy, incredibly wealthy. Mean- 
while she is renting a home instead of 
purchasing, because fifty thousand 
dollars in Polish money — why, it 
would buy most of Warsaw!^ 

I should be glad to enfiven this 
article by describing some screen 
celebrity's private zoo, which he keeps 
in gold-plated cages in his back yard, 
or the champagne baths a popular film 
vamp indulges in, but, as a matter of 
fact, the movie stars spend thei' p 
money in much the way that you an 1 
I spend ours — only more so ! 

Dorothy Donnell. 



FEBRUARY 1025 



Pictures and Pichurevoer 

Let fcw v Geor&e 



79 



' / 




G. B. (1) Paul Richter has fair hair 
and blue eyes and is about 5 ft. 9 ins. in 
height. (2) Adelqui Millar has dark hair 
and eyes, and is 5 ft. 10 ins. in height. 
(3) Julanne Johnstone has golden-brown 
hair and grey-blue eyes. (4) Bunny 
Graner played the boy hero in The Town 
That Forgot God, and Adelqui Millar 
was " Merapi " in The Moon of Israel. 
Thanks for good wishes ! 

Marietta, R. V. (Glasgow). — (1) 
Gerald Ames is the best swordsman on 
the films, and the owner of quite a for- 
midable number of medals for his 
fencing prowess. Conway Tearle, John 
and Lionel Barrymore, Douglas Fair- 
banks, Rudolph Valentino, Ramon 
Novarro, Lewis Stone, and scores of 
others are all very good fencers. (2) 
Rudolph Valentino's real name is 
Antonio Guglielmi. 

F. R. (Johannesburg). — No casts in 
these columns. Sorry ! I've passed 
your carol along with my blessing. 

Daibatsle (Lccdon). — Casts are seldom 
given with German films, and the name 
of that actor isn't available. 

Devil M'Care. — Thanks for your kind 
offer to come and sweeten my labours 
for me. When I need someone to apply 
cold bandages to my fevered brow I'll 
let you know. (1) It doesn't take me any 
time to evolve my " witty answers." (2) 
I'm not a clerk and I don't sit on a high 
stool — can't afford anything more expen- 
sive than a soap box ! (3) I don't just 
work to pass the time away, nor are my 
motives those of pure and unselfish 
affection for inquisitive fans. They are, 
alas, of a more mercenary nature ! 

C A. R. (Watford).— (1) "Those 
heavenly photos " that you covet are 
called " stills." They can sometimes be 
obtained from the Film Co. releasing 
the film in question. (2) Try Jury's, 19- 
21, Tower Street for stills from The 
Four Horsemen of the Apocalypse and 
Allied Artists, 86-88, Wardour Street for 
stills from W ay Down East. (3) There 
is no prospect of Scaramouche being re- 
issued just yet. 

Norma's Admirer (Eastbourne). — Glad 
to make your acquaintance. (1) Pola 
Negri was born Jan. 3rd, 1899. (2) 



Barbara La Marr was born in 1898. (3) 
Constance Talmadge isn't married now. 
(4) Film stars usually answer their fan 
mail. Yours may have gone astray, so 
I should write again if you don't hear 
soon. 

Anxious (Shrewsbury). — I think Fred 
Paul would let you have a photo if you 
asked nicely. Address him c/o Stoll 
Studios, Temple Rd., Cricklewood. 

Pearl's Admirer (Glasgow). — I'll do 
my best for you, but don't be too hope- 
ful. 

Evelyn (Peterborough). — Of course 
I'm a wonderful man. (1) I've for- 
warded your letter, and I think Mae 
Busch will send you a photo. (2) Anna 
Q. Nilsson is married to John M. Gun- 
nerson. 

G. R. (Bristol). — I have " obliged " with 
my usual amiability. 

C. B. (Streatham).— (1) Joseph Schild- 
kraut was born in 1895 ; he has black 
hair and brown eyes and is 5 ft. 11 ins. 
in height. He's married to Elsie Bartlett 
Porter a New York actress. He has 
done a lot of stage work but has made 
only two films to date — Orphans of the 
Storm and The Song of Love. (2) Art 
plate of Joseph appeared in June 1924 
PICTUREGOER. (3) Art plate of Lil- 
lian Gish appeared in July 1924 issue, 
one of Estelle Taylor in Sept. 1923, and 
one of Ivor Novello in Dec. 1924 issue. 

Ivy Duke's Admirer (Walthamstow). 
— " Knows I'm charming, although I per- 
sist in saying I'm not." I shall have to 
buy a bigger bushel to hide my light 
under if this sort of thing goes on. (1) 
William Norris played the part of the old 
Dutch father in The Love Snob. (2)Ivy 
Duke is quite as pretty off the screen as 
she is in her films. At. present she is 
touring in the play " Husband Love," with 
her husband, Guy Newall (3)The Great 
Prince Shan was released October 26 last. 

Patricia (London). — (1; Marie Doro 
hasn't made any films since Sally Bishop. 
Some of her former pictures are The 
Morals of Marcus (first version). The 
White Pearl, The Wood Nymph, Diplo- 
macy, The Heart of Nora Flynn, Oliver 
Twist, Twelve-Ten, A Sinless Sinner, 
The Lash, and The Maid of Mystery. (2) 




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80 



Pichures en d Picture^ uer 



FEBRUARY 1925 




Some PICTUREGOER fans on De Mille's "Golden Bed' set. The two centre 
figures are Lillian Rich and Rod La Roc que. 



Joseph Schildkraut has only played in 
two films to date, Orphans of the Storm 
and The Song of Love. 

E.P.W. (London).— Thanks for thanks 
in advance. You're an optimist ! (1) 
Danny Foster played the part of " Law- 
rence Blake " in Paddy-the-next-Best- 
Thing. (2) Carlyle Blackwell was " Lord 
Leicester " in The Virgin Queen. (3) 
Dorothy Phillips starred in Once to 
Every Woman. 

Novellite (Hull). — Letters forwarded 
to their various addresses. An art plate 
of Tom Meighan appeared in February 
1923 PICTUREGOER. 

Crumpet (Surbdton). — Thanks for send- 
ing me your love. It's surprising how 
affectionate you're all growing. (1) We 
haven't published an art plate of Gloria 
Swanson lately, but an illustrated inter- 
view with a very large photo on the first 
page appeared in Sept. 1924 PICTURE- 
GOER. (2) Gloria has brown hair with a 
red gleam in it, and grey-blue eyes. (3) 
She isn't married now. (4) She is making 
a film entitled Madame Sans Gene. 

Freda (Brentwood). — Letter for- 
warded. 

F.P. (Regents Park).— (1) Betty Bal- 
four was born March 27, about twenty 
years ago. (2) An art plate of Betty 
appeared in May 1924 PICTUREGOER, 
and a page article was published in the 
Christmas Number. An interview 
appeared in December 1922 PICTURE- 
GOER. 

V.M. (Rock Ferry). — Glad to see some- 
body isn't suffering from curiosity. I've 
forwarded your letter. 

J.B. (Bristol).— I'll do my best to per- 
suade the Editor to let you have that 
interview some time this year. (1) 
Creighton Hale is married and has two 
little boys. (2) Neither Andree Lafayette 
or Richard Dix are married. 

E.C.G. (Ireland). — 1 have duly obliged. 

Kwasina (Surbiton). — (1) The cast of 
Dr. Mabuse was a German one. Rudolph 
Klein Rogge played the title role. (2) 
Eille Norwood is married. (3) Mary 
PickforcTs first husband was Owen 
Moore. 

Curious (Harrow). — Your other name 
is Legion ! (1) Mary Alden and Harry 



Morey played in The Empty Cradle. (2) 
Gerald Ames' birthday falls on September 
17. He's touring the provinces at present 
in a stage production. 

A.M.D. (Neath).— (1) Interview with 
Leatrice Joy appeared in October 1923 
PICTUREGOER, and you will find most 
of her films mentioned. No art plate 
of her yet but I'll do my best for you. 
(2) Jack Buchanan is in the early thirties. 
He is best known for his stage work, but 
has played in one other film besides The 
Happy Ending. (3) You' 11 find quite a lot 
about Jack in the British Studio Gossip 
of last November. 

J.E.B. (Broadstairs). — After reading 
through your three pages of effervescent 
gratitude I feel that my life, after all, has 
not been lived in vain. 



Don't worry your head over Picture- 
play problems. We employ a man 
to worry for you. His name is 
George, and he is a human encyclo- 
paedia for film facts and figures. 
Readers requiring long casts or other 
detailed information must send 
stamped self-addressed envelopes. 
Send along your queries to " George," 
c/o " Picturegoer," 93, Long Acre, 
London, W.C.2. 



Gells (Bucks) Says : " I manage to find 
all my information without asking a single 
question." — You're a man (?) after my 
own heart, Gells. Long may you prosper 
and all of your ilk. I've forwarded your 
letter and wish you luck. 

Film Fan (Bath).— You may tell the 
boys in your form that the mighty George 
applauds your taste in film stars — you'll 
find this a less sanguine weapon than fists. 
(1) I think Matheson Lang will send you 
a photo if you ask him. Send me the 
letter and I'll see that he gets it. (2) To 
date Matheson has only indulged in one 
wfie. Her name is Hutin Britten and 
she sometimes plays with him on the 
stage. 

Irene (Rotherham). — Fve passed your 
letter on to the " Thinker." Your idea is 
qnite an interesting one. 



Connie (Joppa). — Your curiosity doesn't 
exceed the average, so there's no need to 
apologise. (1) Give Brook has fair hair 
and blue ey,es. (2) His birthday is June 
1, and he's in his early thirties. (3) Write 
to him c/o Ince Studios, Culver City, 
California, for an autographed photo. (4) 
His latest film is Christine of the Hungry 
Heart. (5) He's married to Mildred 
Evelyn, and has a baby daughter. 

Judy (Croydon). — I'm Patience minus 
the monument — I haven't got time to 
climb all those stairs every day. (1) 
Corinne Griffith is married to Walter 
Morosca. She was born Nov. 24, 1899. 
(2) I'm afraid there's very little chance of 
The Sheik being shown again just now. 
It has already been re-issued once. 

Bonton D'Or (Kilmarnock).— Thanks 
for your wholesale appreciation of 
PICTUREGOER. You're certainly a loyal 
reader. (1) So far as I know Norma 
Talmadge is not of Jewish extract (2) 
There is no truth in the rumour that 
Gladys Cooper and Ivor Novello are en- 
gaged. (2) Alma Taylor's latest picture 
is The Shadow of Egypt, but it hasn't yet 
been released. Alma isn't married. (3) 
I'll see that your brickbats reach the right 
quarter. 

Rubberface (Champion Hill). — Letter to 
Rudolph has been forwarded. Flattery 
hasn't turned my head — I'm used to it ! 

Ailee (Banstead).— (1) Send your letter 
to Richard Talmadge to these offices, in a 
plain stamped envelope, and Fll forward 
it for you. (2) An article about Richard 
appeared in January PICTUREGOER. 

Mollie (Birmingham). — Sorry, Mollie, 
but we don't publish " movie letters " in 
PICTUREGOER. Try your hand at a 
" Carol " instead, and I'll see what I can 
do for you. 

Chum (Torquay). — Glad your glad ! 

(1) I'll see what I can do about an art 
plate of Ramon Novarro some time in the 
New Year. (2) Schildkraut is pronounced 
with the " i " long as though it were two 
" ee's." All good wishes reciprocated 
with interest. 

N.F.H. (Tavistock). — Glad to make 
your acquaintance. (1) Colleen Moore — 
w^hose real name, by the way, was Kath- 
leen Morrison — was born August 19. 1900. 

(2) She's married to John McCormick, 
and she hasn't any children. (3) She has 
a brother, Cleve Morrison, who is about 
sixteen or seventeen years old, and no 
sisters. 




FEBRUARY 1925 



Picture s and Pi chare pver 



81 




Pola Negri is realty helping Cecil De Mille into a boat after a SWim. 
has obscured all of him except his head. 



The water 



Doris (London). — Thanks for thanks. 
No close up of myself on the front page 
of PICTUREGOER— mine is one of the 
faces that looks best at a distance. (D 
Send your letter to Henry Victor to me 
and I'll see that he gets it. I can't give 
you his address as his movements are 
rather uncertain at present. 

VV.A.C.M. (Kensington).— Letter for- 
warded. 

Gooseberry (Cheshire). — Glad to hear 
you have plenty of patience — you'll need 
it if you're a film fan. (1) Rex Ingram 
has decided to come back to the films, and 
is at present directing Mare Nostrum 
with Antonio Moreno in the leading role. 
(2) The first " Ben Hur " Company, in 
which George Walsh was the star, was 
recalled from Italy when the Metro-Gold- 
wyu Amalgamation took place, and a 
fresh company* with Ramon Novarro as 
" Ben Hur," was sent over. (3) I've 
handed your enclosure to the " Thinker." 

Dolly (Gloucester). — Glad I provide 
you with some slight amusement for the 
winter evenings. I've forwarded, your 
letters. 

R.T. (Dulwich). — (1) Charley's Aunt is 
being filmed with Syd Chaplin in the title 
role. An art plate of him, as he will 
appear in the film, was published in last 
month's PICTUREGOER. 

Chic (Clacton-on-Sea). — Letter for- 
warded. 

Anne (?)— (1) Modesty forbids my 
answering your first question. (2) 
Adolphe Menjou's surname is pronounced 
Mahnjhou, as near as I can write it. (3) 
He's married and isn't a scrap like the 
characters he portrays on the screen, but 
a model husband and father, if his press 
agent's words go for anything. 

Mary ( Cricklewood). — I've forwarded 
your carol with the usual recommenda- 
tion to mercy. (2) Henry of Navarre 
has been released and shown at most of 
the cinemas. 

J W. — (1) Have forwarded your letter 
to Bebe Daniels and wish you luck. I 
think she will probably let you have that 
autographed photo. 

Pen (Cardiff).— (1) Mary Pickford will 
probably make Cinderella her next film, 
although this isn't quite certain. She 



has a new director, Josef von Sternberg, 
with N whom she expects to do great 
things. All the best, Pen ! 

Jack (London).— (1) Richard Dix was 
born in 1894. (2) Matheson Lang is 
married to Hutin Britten. (3) I don't 
know why actors in German films don't 
have their names published in the casts. 
Maybe it's their natural modesty. 

Nancy (Shrewsbury). — Letters for- 
warded to Ramon. 

Elaine (Dublin).— (1) "Buck" Jones's 
real name is Charles Jones. (2) Buck 
signed his first picture contract in 
October, 1919, with Fox Studios. He has 
been married nine years and has a little 
daughter. (3) Buck was born in Vih- 
cennes, Indiana, and his address is 6015, 
Hollywood Blvd., Hollywood California 

Rudy-For-Ever (Leek).— (1) I cant 
promise you another interview with 
Rudolph just yet, and you've had enough 
art plates of him, lately, to make Non- 
Rudolphites your enemies for life. How- 
ever, I've passed your carol on with my 
blessing. (2) Rudolph's beard isn't a per- 
manent affair, but has been grown so that 
he may bring the right amount of realism 
to the role of a Spanish grandee in his 
next film. After that, you will rejoice 
to hear, it will be shayed off. 

Aline (Birkenhead). — Sorry I couldn't 
answer you in the December number, as 
you asked, but my post bag is bigger than 
the space allowed me in PICTUREGOER 
and I have to deal with your various 
wants in turn. (1) I've forwarded your 
letter to Jameson Thomas. (2) Frank 
Mayo was at one time married to Dag- 
mar Godowsky, but he isn't married 
now. (3) Frank was born in 1886. 

Interested (Kensington). sa"ys : "I'm 
sorry to say I am not one of your charm- 
ing sex." No need to apologise, Interes- 
ted, for what, after all, is not your fault 
but your misfortune ! (1) Release date 
of A Sainted Devil isn't fixed yet, and no 
copy of the film has reached this side, to 
date. 

Carrots (Dublin). — I've quite enough 
to do with satisfying the curiosity of im- 
portunate fans, without being an Editor. 
(1) Conway Tearle has black hair and 
dark brown eyes, and was born in 1880. 



\n interview with > onway appeared 

m \i.mist 1^24 Pit '1 UR1 GO! R tad an 
art pfaltC in April 1°J4 issue 

LavUTDU (London). — (1) Lois Wilson 

isn't married vet She *as born fun* 

2Kth, 1X<X>, at Pittaburg. (2) Monte Blue 
was born Ian 11 tli, 1K9(), at Indianapolis. 
He's married to Tuva Janstn. Montc's 
latest completed picture is The liark 

Swan, in which he stars with Man 
PreVOSt and Helene ( hadwick. (5) 
( live Hrook is in America working at the 
Thomas II luce studios. (4) So far as 
1 know, there is no prospect of I he Black 
Gang by " Sapper " being filmed. 

Pola Nki.ri PoBEVIl (Forfar;. — 
Thanks for all your good wishes- 
to you and many of 'em. (1) Ernest 
Torrence is about forty years old. His 
last film was I he Side Show of Life, 
taken from W. J. Locke's book '/he 
Mountebank. (2) Pola's last German- 
made film to be shown over here was 
Mad Love 

Anne (Durham).— (1) Letter forwarded 
to Warwick Ward. (2) C/o Metro- 
Goldwyn-Mayer Studios, Culver City, 
California would probably find Mr. Free- 
man Woods. 

P.E. (London). — You've evidently got 
it badly! (1) Joan Morgan's twentieth 
birthday is the first of this month, so 
you'd better hurry up if you want to 
write to her for the event. (2) Joan has 
deep blue eyes, fair hair and a roses and 
cream complexion. She is 5 ft. 1 in. in 
height. (3) Some of her films are The 
Lowland Cinderella, The Lilac Sunbon- 
net, The Road to London, The Great 
Well and Srcalloiv, and her next release 
will be 1 he Shadoiv of Egypt in which 
she plays the role of a young Egyptian 
girl. She has also played on the stage 
in the revue " A to Z," and is at present 
playing in " The Fool." (4) Her hobbies 
are sports of all kinds, swimming, riding, 
dancing and walking, playing the piano 
and singing (she has a contralto voice). 

Betty's Adorer (Cambridge). — (1) 
Betty Balfour isn't married or engaged 
to date. She is an only child and was 
brought up by an aunt. (2) Betty does 
not come of a professional family. (3) 
She wears her hair bobbed now. (4) She 
has just sailed for Jamaica, where most 
of the scenes of her new picture Satan's 
Sister will be shot. 




Maurice 



Lefty " I'lynn 
favourite pipe. 



with his 



82 



Pictures anc Picfrjrepuer 



FEBRUARY 1925 



Art Or- 



Because I am kindhearted 
and hate the idea of a 
Thinker losing his 
chance of a big money 
prize 

A Hint in Time. p t p 

TURE- 
GOER Popularity Contest, 
I hasten to remind you all 
to fill in your coupons 
without delay. March 7th 
is positively the last day 
upon which entries may be 
received, so, should you 
have changed your mind 
as to the respective merits 
of the various stars, there 
is still time to fill in another. 
At the moment, two stars 
are easily ahead of all the 
rest. I am not allowed to 
divulge their names, but 
there is going to be a stiff 
fight for first place. 

George Fitzmaurice, the 
well-known producer, 
sends the following 
thoughts. " Critics never tire ot tell- 
ing us that the 
screen is not an art 
and does not appeal 
to the cultured. 
I disagree. Romance in the 
kinema rides in seven-league- 
boots for saint and sinner to enjoy. 
Drama, high and low is portrayed ; 
ideals of truth and honour are for 
ever being heJd up as the laws of life. 
Motion pictures provide emotional 
and mental stimulation like music 
and poetry. Moreover, many people 
only know the beauties of nature 
through the kinema. My contention 
is that the greatest art is that which 
appeals to the greatest, not the 
fewest, number." 

" I am an ardent film-fan and am 

1 also iconoclastic enough to cut 

out the illustrations from PIC- 

TUREGOER and paste them into 

. „ . albums. Con- 

A Cutting sequentlv, when, as 

Ke P l y- in the 'November 

issue, I see four ' stills ' of my 

favourite actress — Norma Talmadge 

— in my favourite film — Secrets — 

printed on both sides of the page, I 

feel rather sore. Please, Mr. Thinker, 

can we have the illustrations in the 

monthly story at least, so printed that 

any one can be taken out without our 

having to cut across another picture 

we may want?" 

U. B. Y. {Brixton Hill). 

[The answer's " Buy two copies a 
month !] 




Tn December's issue of the PIC- 
1 TUREGOER, Phyllis, Man- 
chester wrote that Rudolph Valentino 
was unsuitable for the role of 
" Monsieur Beau- 
Her Ideal caire,' " writes 

"Beau." L. E. G. {Cam- 

bridge). Since the 
film has been made, I have read the 
story, and I consider Rudolph the 
ideal " Beaucaire " Booth Tarking- 
ton pictured his hero as gay and 
debonair, therefore, wherein can he 
fail? and where the fairness is 
concerned, Rudy wears a white wig 
in parts of the film, and is converted 
into the fair " Beaucaire," I ask you 
again, where does he fail? A certain 
critic savs, ' Valentino was so suited 
for the part, that he didn't need to 
act,' and I agree with him, because 
when I read the story I pictured 
Rudolph himself as the gallant hero 
in silks and satins. If he had not 
been so perfectly suitable for the role, 
the film could never have been 
made." 

I'll praise Betty Bronson, but being 
and staying, a true Doro-wor- 
shipping ' fan ' — Forgive me, 
dear Thinker, I cannot help saying, 
how she could have 

~ „ , ... played 'Peter Pan' ! 
One Fans Views .\, m sure her por . 

trayal would easily 
prove it — that Barrie has chosen in 
haste. To say it's a question of taste 
won't remove it ; of course it's a 
question of taste. Good taste to all 



Marie's admirers is native, 
they haven't been blind 
from their birth; And 
they're of all folks the 
most argumentative that 
dwell on the earth ! 

But this is my honest, 
sincerest contention 
— Sir James made a 
mighty mistake. Though 
Betty be all 
He's Very that' her 

Positive. press- 

agents 
mention (if so she walks 
off with the cake !), a 
masterpiece shines by the 
stuff that it's made of, and 
more is not given to man. 
Though Marie can act 
(what was Brenon afraid 
of?), she needn't — she is 
' Peter Pan.' Though 
difference with Barrie seem 
but suicidal, I know who 
the player should be ; the 
spirit of faery, an angel, an 
idol — he's Marie to me !" 
E. J. F. {London). 
[I'm afraid that your partiality for 
Marie rather blinds your judgment 
E. J. F. Personally, I think that Sir 
James Barrie made a very wise 
choice]. 

" T should like to express my sincere 
appreciation of Edmund Lowe's 
splendid work in The Silent Com- 
mand, and In the Palace of the King. 
His acting is excel- 
lent . . . restrained 
yet forceful. It is 
a joy to watch his 
so utterly free from 
self-consciousness. Like Lillian Gish, 
Richard Barthelmess, Henry 

Walthall, and a few others, his eves 
express every emotion, and in his act- 
ing, there is a complete absence of 
exaggerated gestures and facial con- 
tortions. I presume he is a new- 
comer to the silver sheet (since wc 
have seen but little of him) but I 
should like to see his name at the top 
of the list with the other bright 
' stars.' 

But . . . doesn't anyone else think- 
so? I have waited in vain for a 
reference to this plaver in the 
Picturegoer." — 
Don J o h n 
{Plaistow.) 
[You had it last 
month, Senor(a). 
Watch out 
for your fav- 
ourite in The 
Fool] 
THE THINKER. 



High Praise 
for Lowe. 

movements . . 




MARCH 1925 



Pict\jrQs and P/ctureQoer 



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Ethel 

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Betty 

Compson 
Corinne 

Griffith 
Buster 

Keaton 
Harold Lloyd 
Pola Negri 
Ramon 

Novarro 
Ivor Novello 
Marie 

Prevost 
Milton Sills 
Gloria 

Swanson 
Conway 

Tearle 
Alice Terry 
Rudolph 

Valentino 
Geo rg-e 

Walsh 



1 R P° rtra ' ts ' n 1 / 

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Picture s and Pichure $uer 



MARCH 1925 



1. Ramon Novarro 

2. Betty Compson. 

3. Ivor Novello. 

4. Alice Terry. 

5. Harold Lloyd, 




6. Norma Talmadge. 

7. Bebe Daniels. 

8. Jackie Coogan. 

9. Gloria Swanson. 
10. Rudolph 

Valentino. 




is me \*M^ 
most popular Film Star } " 





The result of 
the Great £500 
Film Star Popu- 
larity Contest 

(Closing date MARCH 7th). 

Will appear in the April "Picturegoer" 
on Sale Wed., April 1. 



WHO will be the winner of the £250 First Prize ? 
Whose name will be written on the roll of 
fame as the Most Popular Film Star ? 

The answers to these intriguing questions will be 
announced in the April " Picturegoer." 

Tens of thousands will eagerly open this number 



with the words on their lips : " Is my name amongst 
the Prize Winners ? 

As befits a great occasion -the April " Picturegoer " 
will be a very special number, and the demand will 
naturally be so tremendous thai it is imperative to 
secure your copy the moment it comes out. 




Tell your Newsagent to reserve a copy. 

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MARCH 1925 



Pictures and Picfvrepuer 

THE BEST PICTURES 

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Ealing, W. 

CORONET THEATRE 

Netting Hill, W. 

RED HALL Walham Green, S.W. 

SYDENHAM RINK CINEMA 

Sydenham, S.E. 



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AND 



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K 



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ENTERTAINMENT 



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Ilford, E. 

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Palace) Tottenham, N. 

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Sutton. 

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HOUSE Maida Vale, N.W. 

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East Ham, E. 
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PREMIER CINEMA Ilford. E. 



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DANCE HALLS : 
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,VI M 1 ' fill III 



Pictures and P/'cfrjrepver 



MARCH 1925 




Knitted Spun Silk Sports Sweater 

in a variety of attractive colours. Actual value 50ns. 
Special Price. 59/6 

Knitted Sports Hat 

in wool and rayon 35/6 

Woollen Stockinette Skirt 

on silk top for tennis etc., in white & colours Q4-/6 

Debenham & Freebody, 

P>«mUw Ltd. * 

Wigmore Street ,W I. 



MARCH 1925 



Picture s and Picture puer 




.-. # 







C7/?osn<3s JKezy/?a/i 






Pictures and Pichjrepuer 



MARCH 1925 




NAZIMOVA AND MILTON SILLS 

As they appear in " A Madonna of the Streets," in which Xazimova 

returns to sereenland. But it looks like being one of Sills' last for he 

seems determined to become a direetor. 



MARCH 1925 



Pictures and Pict\jre$uer 



PICTURES AN D 



TH& PICTURErCO&R 



C R E- 



MACA 



I hsj 



VOL. 9. No. 51 



MARCH, 1925. 



/ Jn.t,ml Of fun 
*M. long A<rr | 



RrftttrtfJ ft r I ran.mtuu.n 
by ( anaiUan \'*Jf a/i or f'oit 



PictwKegoer PiiA-Pricks 




eauty is the touch- 
stone of Life.'' >a\ s 
Lady Diana Man 
tiers. It can certainly 
transmute dolls into 
dollars. 



w 



omen do not 
kiss when 
they are 
sad," says Tola 
-Negri. True; they 
mostly seem to prop up doorposts — 
having previously called for the 
largest glycerine bottle in stock. 



Lady Di. 



M 



L 



ove," says John Gilbert " is 
sharing." But not when 
it comes to sharing close- 



ups. 




V 



on Sternberg, 
w h o m a d e 
The Salvation 
Hunters, says he has 
photographed 
thought. I wish he'd 
photograph what the 
average producer 
thinks are the 
thoughts of the 
Von Sternberg average audience. It 
would explain such a lot of films. 

Somebody has just presented 
Harold Lloyd with a magnifi- 
cent tiger skin. Now he will 
doubtless make a new comedy called 
Three Squeaks. 

Ruth Clifford is to marry as soon 
as she has finished with 
Judgment, which, it seems to 
me, is just about the reason why most 
people marry. 



V 



' isitors," says Jane Novak, 
" see more of England in 
a few days than some of 
us see in many years." And if what 
American producers show us is really 
England I'm not surprised it's kept 
well hidden. 



A 



ccording to America, " Queen 

Mother Alexandra " selected 
Monsieur Beaucairc for her 
birthday party from a number of 
other films. Dear, dear! And here's 
poor King George thinking he 
ordered it himself for her as a sur- 
prise. 



w 



henever I see 
a still photo- 
graph of 
Douglas Fairbanks 
there's one thing I 
want to know. How 
on earth do the} 
manage to make him 
keep still long 
enough to expose the 
negative? 






Doug Fairbanks 



here's genius behind that 
picture," said she. " Yes," 
he replied, " but, O my ! 
what a long way behind it is !" 



a* ■ i 



B 



arbara La Ma it recommends 
" dashing " girls to use heavy 
oriental perfumes. We know 

those girls well. But the dash has 

alwavs been ours. 



o 



nee more we are promised 
" bigger and better pictures." 
The rumoui"that Ananias died 

some 2,000 years ago is clearly 

devoid of foundation. 



Betty Balfour 
cables that she 
has had an in- 
teresting conversa- 
tion with Ramsay 
MacDonald in 
Jamaica. L'p to date 
Ramsay MacDonald 
has not cabled that 
he has had an in- 
teresting conversa- Hetty Balfour. 
tion with Betty Balfour. What 
Jamaica that? 




Betty Compson says that the 
word " register " has been 
" kidded to death." And we 
think that kids have been regist- 
to death, too, on the screen. 

They cast Anna May Wong for 
" Tiger Lily " in Peter Pan 
because they said she looked 
like a Red Indian. This is the first 
plausible theory I've seen to account 
for the war in China. 

Lillian Rich was a brunette. But 
Cecil de Mille wanted a 
blonde. So he put a blonde 
wig on Lillian. So simple! Maybe 
somebody will now put a silk-hat on 
Strongheart and call him Adolphe 
Menjou. 



I 




know a lot oi 
women who 
are not 
actresses," says Con- 
stance Talmadge 
And I know a lot of 
actresses who aren't, 
either. 

Constance 1 almadgc 

To the correspondent who writes 
to say that her friends tell her 
she has a film face, I can only 
suggest that they probably didn't 
mean to be unkind. 

" JS" onigsmark," I am misin- 
/^ formed by a publicity 
agent, " is the greatest love 
story ever told." They alwavs are, 
but they're not always called 
K onigsmark 



hat could a heroine want 
more," says a publicity man, 



"W 

" than to be kissed by 
George Hackathorne?" We know 
heroines who are mercenary enough 
to want a good deal more. 

THE WASP. 



10 



Picfxjre s and Picture pver 



MARCH 1925 





K\g the 
High Spots 

High spots of drama are as rare in the movies as rain in the 
Sahara. Even the producers of acknowledged masterpieces 
are apt to bungle them and even miss them altogether 
sometimes. 



door that mattered. 

It is a curious thing 
that these high spots 
of drama are as rare 
in the movies as rain 
in the Sahara, and 
that even the cleverest 
and most experienced 



If anyone where to ask me suddenly 
what was the best movie ever 
made, I should find myself at a total 
loss for an answer, my brain pivot- 
ing from America to Germany, from 
France to Sweden, half a dozen titles 
revolving in my head. But if anyone 
were to ask me what, in my opinion, 
was the best moment ever caught in a 
movie, I should not hesitate for a 
minute in giving my answer. For sheer 
dramatic power and genius, there has 
never been a moment to touch the close 
of the fight in Tollable David. 

The pause, the fragment of suspense 
as we watch the outside of the cabin, 
ignorant of what has happened within. 
Then the door, slowly opening, moving 
like a crippled thing — and at last David, 
on the threshold, his great fight over. 

That scene stands out in Tol'ablc 
David like a spot of white light on the 
fabric of the whole. 

It is a perfect example of climax, pro- 
pared for and delayed to the last 
moment of possible suspense, and then 
flashed on to the expectant mind in all 
its power and beauty. A lessor director 
would have shown us the outcome of 
the fight, filming the master stroke 
which must have left David the victor. 
And the scene would have failed to 
grip. There would have been no high 
spot of drama for the memory. 

Since Tol'ablc David, a great many 
directors have tried to copy the success- 
ful suspense method of Henry King, 
and all sorts of doors have slowly 
opened in all sorts of films, but they 
have never opened on drama. It is 
easier to copy the manner of a touch 
of genius than to catch its spirit. And 
it was the thought behind the opening 



producers seem to find difficulty m 
achieving them. Out of a hundred com- 
petent, well-made pictures, chosen from 
any country in the world, only one, per- 
haps, will have hit the high spot in its 
climax. And even the producers of 
acknowledged masterpieces are apt to 
miss or bungle it. 

The common or garden film, the kind 
that is known as " good popular enter- 
tainment," or the melodrama " packed 
with thrills and heart throbs " from the 
first reel to the last embrace, is of 
course dependent for its livelihood on 
high spots. The height of these does 
not matter too much. But the number 
is everything. And the result is as 
freckled with them as a patient with 
the measles. But I am speaking of the 
single high spot which marks, or should 
mark, the climax of the film of real 
merit. I am speaking of the great 
moments of the greatest directors on 
the screen. And I do not find them 
great enough. 

Only the other day I saw Victor 
Sjostrom's He Who Gets Slapped. And 
when we reached the famous scene in 
the Academy, and the other famous 
scene in the circus, where the laughter 
of the audience drives the hero to 
despair, I marvelled again and again at 
the opportunity for drama which 
Sjostrom had let slip. The psychological 




Dirk Barthclmess as the hero in " Toiable David.'' 



MARCH 1925 



Pictures and Picturevuer 



11 




Pierre 

Gendro 

who plays 

the son in "The 

Lover of Camille." 

point, remember the psychological 
climax, is that a world laughed at him. 
It does not matter in the least what 
worlds 

It is not, in either case, a world made 
up of individuals, but a world made up 
laughs. The characteristics of the 
separate laughers are about as notice- 
able to the clown as the exact tempera- 
ture of the room in which they laugh. 
And, above all, the laughs in both cases 
are, to his ear, exactly the same. It 
does not matter that the laughers in one 
case are learned gentlemen in evening 
dress, and in the other a crowd of 
country folk out for an evening's 
amusement. That is only the second 
impression, the distinction of a think- 
ing mind. 

The first impression is of laughter in 
the abstract, universal laughter. And 
the screen is perhaps the only art that 
could show this subtlety and stress it 
without breaking. Why could not 
Sjostrom have photographed a wall of 
laughter? Why not show us hundreds 
of laughing faces, without personality, 
with character, just hundreds of 
mouths agape and agrin? Mos- 
joukine did it in Kean. He showed us 
the actor haunted by the imagined 
laughter of a footman ; he showed us all 
thought and beauty, all hope and 
imagination swallowed up, actually 
swallowed, in a gaping mouth. 

He pictured laughter with the most 
powerful dramatic effect. Sjostrom 
could have worked miracles with such 
a method. For He Who Gets Slapped 
centres entirely round the fact of that 
laughter. On the stage it was called 
The Painted Laugh. Laughter should 
be the high spot of Sjostrom's film. And 
it is not. 



i regretted, too, the high spot, 
attempted but missed, in The Lover of 
Camille. We have been led to believe 
in Deburau as the greatest pantomimist 
in the world. A series of clever sugges- 
tions, an atmosphere, and the really 
clever miming of Monte Blue have in- 
duced this belief. Then, on .his greatest 
night of all, he fails. His son, young 
Deburau, takes his place at the last 
moment, and the climax of the film 



comes wnli the father 1 ! realisation that 
lu.s .son will in- the greatei u tor. 

A fine climax, if We had watched it 

reflected <>n the fathei lone But 

alas! we are allowed to watch the per- 
formance of the son. And younj; Pierre 
Gendron, who plays the part, is no 
mime. The high spot of the- drama 
falls Hat in unbelief It is not often 
that the Gennani make mistakes in 
dramatic emphasis, and it seems almost 
ungrateful to pick holes in such 
brilliant productions as Thi GoUm and 
The Cabinet of Dr. Caligari. But the 
fact remains that the high spots in each 
of these pictures have been missed by 
a hairsbrcadth. 

The climax of The Golem, the earlier, 
at least, of the two climaxes, is the 
scene in court where the old Rabbi calls 
upon the heavens to strike down the 
king and his scoffing companions. The 
rafters crash down upon them, and only 
the supernatural strength of the Golem 
can save them from death. A great 
and terrible moment — but the rafters 
are the producer's, not the courtier's, 
ruin. 

Painted canvas — an obvious feather- 
weight. The perfect high spot would 
have suggested the terror and built the 
rafters vast and inexorable in our own 
imagination. The climax of Dr. Cali- 
gari marks the discovery that every- 
thing seen in the film has been seen 
through the distorted eyes of a mad- 
man. One moment of revelation 
would raise the power of the whole film. 

However, it is an ungrateful task to 
talk of opportunities missed in films 
that have really achieved a fine measure 
of art. It is ungrateful, and never-end- 
ing. For every marksman misses some- 
where. And after all, it's better to have 
aimed and missed than never to have 
aimed at all. E. R. T. 




Monte Blue as " Deburau " in " The Lover of Camille.' 



12 



Pictures and PicfxjreWer 



-\e Shepherc 



MARCH 1925 



One of the first films to be made w 

Holy 

It is the fashion for the motion pro- 
ducer at a loss for a story, to turn 
for his subject to that oldest of 
all books, the Bible. Here there 
is no lack of excellent material — 
romance, tragedy, stirring adventure, 
and all that goes to the making of a 
good picture — lying ready to the hand 
of whoever cares to use it. 

It remained to J. Gordon Edwards, 
director of the spectacular Queen of 
Shcba, however, to realise the dramatic 
possibilities of the story of David and 
Saul, and in The Shepherd King he 
has given us quite a dignified and well 
arranged adaptation of the Old Testa- 
ment story. 

' | "he film opens with the arrival of the 
Israelites at the promised land. It 
then passes over many years, when 
we see King Saul hourly expecting- the 
attack of the Philistines. He is 
tempted to offer up the burnt sacrifice 
that must precede the battle, without 
waiting for the arrival of the Prophet 
Samuel in the camp, and is told that 
as a punishment his kingdom will be 
taken away from him. Samuel, seek- 
ing a new ruler, chooses David, a 
humble shepherd lad, telling him that 
he shall be king at an appointed time. 
The boy is sent to Saul, who is 
troubled with a grievous melancholy 
at times, and by his songs and the 
music of his harp he lifts the shadow 
from the king's heart. He meets 

Circle : The Israelites on their way to the 
Promised Land. Beloiv : A group of the 
chief characters in "The Shepherd King." 




ith an international cast in the 
Land. 

Michal, Saul's youngest daughter, and 
the two fall in love with one another. 
Later he saves her from a lion and is 
allowed to go out in battle against 
Goliath, the giant champion of the 
Philistines, whom he slays. Saul 
promises him Michal's hand in mar- 
riage if he will defeat the Philistines, 
and bring back one hundred enemy 
banners in token of his viotory. He 
goes forth confidently to battle, with 
only a handful of warriors at his com- 
mand, but Doeg, an officer of the 
Court who has secretly sworn to com- 
pass the king's downfall, warns the 
Philistines to prepare an ambush. The 
news of this is fortunately brought to 





Above : The youth- 
ful David with his 
flocks in Egypt 
Below : The pro- 
phecy of " David 
the Shepherd 
King." 



I 








ARCH 1925 



Pictures and PichureVvpr 



13 




Ine of the many beautiful exteriors. 

avid by a prisoner who has escaped 

i om the enemy camp, and he is able 
defeat his enemies and fulfil his 
•omise to Saul. 
But his great triumph arouses 
e king's jealousy and, after 
narrow escape from death, 
avid is banished from the 

! ourt and returns to his flocks, 
ater, Doeg leads an army 

[ gainst the king's palace. 

I aul and Jonathan are killed, 
ut David arrives just in 
me to save Michal and to 
larry her, after which he is 
rowned king amidst general 
ejoicing. 

This is only a brief outline 
f the story presented in The 
hcphcrd King but it is 
nough to illustrate the pos- 
ibilities. Most of these 
ave been taken full advantage of by 
he producer, and there are several 
eally impressive and spectacular 

j cenes — notably the one in which 
)avid is seen returning home with his 
•ictorious army, after the defeat of 
he Philistines. The ordinary sets 
vere, of course, built specially at the 
7 ox Studios, but many of the scenes 
vere taken in Egypt and Palestine at 
he actual locations where the historic 
events took place thousands of years 

igo. 

"Phis gives an added realism to the 
picture, and in this way the film has 
a considerable advantage over the 
stage version from which it has been 
partially adapted, for who does not 
prefer to see the real thing, if it is 
possible, rather than a pasteboard 
imitation? 

The film was amongst the first of the 
biblical pictures to be made actually in 
the Holy Land, for although it has 
only just been Trade Shown over 
here, it was finished some years ago, 
and has been kept in storage ever 



Above 



The triumphal entry of David 
into the Citv 



Above : Violet Mersereau Oj 
• Michal." 

since. Its cast is entirely 

continental, except for Violet 

Mersereau, who emerged 

from retirement to play 

" Michal." Nerio Bernardi 

is a personable " David," 

and Guido Trento as " Saul " 

gives a very good character 

study of the king, whose jealous fears 

as he realises his rapidly declining 

power, re-act upon him for his own 

downfall. 

On the whole it is a film that will 
interest most picturegoers, for it has 
all the ingredients of a popular 
entertainment. E. E. Barrett. 

Belo-c : David (Xerio Bernardi) soothes 
Kinn Saul -u.it h his music. 




14 



Picture s and Pichjre puer 



MARCH 1925 





Illustrated by photographs from the Paramount film of the same name. 



They crossed the street and paused at 
the door of Miss Kearns' shop, 
behind which were her living- 
rooms. She would to-night go over 
Passion's Perils once more and send it 
to another company. 

" I wonder," she said to Merton, " if 
they keep sending it back because the 
sets are too expensive. Of course there's 
the one where the dissipated English 
nobleman, Lord Blessingham, lures 
Valerie into Westminster Abbey for his 
own evil purposes on the night of the 
old earl's murder — that's expensive — but 
they get a chance to use it again when 
Valerie is led to the altar by young Lord 
Stonecliff, the rightful heir. And of 
course Stonecliff Manor, where Valerie 
is first seen as governess, would be 
expensive ; but they use that in a lot of 
scenes too. Still, maybe I might change 
the locations around to something they've 
got built." 

" I wouldn't change a line," said 
Merton. " Don't give in to 'em. Make 
'em take it as it is. They might ruin 
your picture with cheap stuff." 

" Well," the authoress debated, " maybe 
I'll leave it. I'd especially hate to give 
up Westminster Abbey. Of course the 
scene where she is struggling with Lord 
Blessingham might easily be made offen- 
sive — it's a strong scene — but it all comes 
right. You remember she wrenches her- 
self loose from his grasp and rushes to 
throw herself before the altar, which 



suddenly lights up, and the scoundrel is 
afraid to pursue her there, because he 
had a thorough religious training when a 
boy at Oxford, and he feels it would be 
sacrilegious to seize her again while the 
light from the altar shines upon her that 
way, and so she's saved for the time 
being. It seems kind of a shame not to 
use Westminster Abbey for a really big 
scene like that, don't you think?" 

"I should say so!" agreed Merton 
warmly. " They build plenty of sets as 
big as that. Keep it in!" 

""\y Tell, ril take your advice. And I shan't 
" give up trying with my other ones. 
And I'm writing to another set of people 
— see here." She took from her handbag 
a clipped advertisement which she read 
to Merton in the fading light, holding it 
close to her keen little eyes. " Listen ! 
' Five thousand photoplay ideas needed. 
Working girl paid ten thousand dollars 
for ideas she had thought worthless. 
Yours may be worth more. Experience 
unnecessary. Information free. Pro- 
ducers' League, 562, Piqua, Ohio.' 
Doesn't that sound encouraging? And 
it isn't as if I didn't have some ex- 
perience. I've been writing scenarios for 
two years now." 

" We both got to be patient," he 
pointed out. " We can't succeed all at 
once, just remember that." 

" Oh, I'm patient, and Fm determined ; 
and I know you are too, Merton. But 



bq MARRY LEON WILSON 



The second instalment of a movie story that will appeal 
to every movie fan. 

Merton Gill, an assistant in a small town general store 
cherishes secret ambitions of screen stardom. He buys all 
the film magazines published, hoards his images, and spend! 
every available moment playing " hero " in imaginary screen- 
plays, using the store dummies for his "heroine* and 
" villain." After closing time, Merton calls at the Post 
Office for some new magazines, and meets Tessie 
Kearns, the Simsbury dressmaker, zcho aspires to 
achieving fame as a scenario zcriter. Her 
latest effort " Passions Perils," has been 
rejected and returned to her. 



the . way my things keep coming back — 
well, I guess we'd both get discouraged 
if it wasn't for our sense of humour." 7 

" I bet we would," agreed Merton. 
" And good ni?ht !" 

He went on to the Gashwiler Empo- 
rium and let himself into the dark store. 
At the moment he was bewailing that the 
next instalment of The Hazards of 
Hortense would be shown on a Saturday 
night, for on those nights the store kept 
open until nine and he could see it but 
once. On a Tuesday night he would 
have watched it twice, in spite of the so- 
called comedy unjustly sharing the bill 
with it. 

Lighting a match, he made his way 
through the silent store, through the 
stock-room that had so lately been the 
foul lair of Snake le Vasquez, and into 
his own personal domain, a square par- 
titioned off from the stock-room in which 
were his bed, the table at which he 
studied the art of screen acting, and 
his other little belongings. He often 
called this his den. He lighted a lamp 
on the table and drew the chair up to 
it. 

On the boards of the partition in front 
of him were pasted many presentments 
of his favourite screen actress. Beulah 
Baxter, as she underwent the nerve- 
racking Hazards of Hortense. The in- 
trepid girl was seen leaping from the seat 
of her high-powered car to the cab of a 
passing locomotive, her chagrined pursuers 
in the distant background. She sprang 
from a high cliff into the chill waters of 
a storm-tossed sea. Bound to the back 
of a spirited horse, she was raced down 
the steep slope of a rocky ravine in the 
Far West. Alone in a foul den of the 
underworld she held at bay a dozen vil- 
lainous Asiatics. Down the fire-escape 
of a great New York hotel she made a 
perilous way. From the shrouds of a 
tossing ship she was about to plunge to 
a watery release from the persecutor who 
was almost upon her. Upon the roof of 
the Fifth Avenue mansion of her 
scoundrelly guardian in the great city of 
New York she was gaining the friendly 
projection of a cornice from which she 
could leap and again escape death — even 
a fate worse than death, for the girl was 
pursued from all sorts of base motives. 



MARCH 1925 



Pictures ar\d Pichjrepver 






This lime, friendless and alone in profli 

New York, she would leap from the 
lice to the branches oi the great 
sucalyptus tree that grew hard by Un- 
ng performances like these were a 
tant inspiration to Morton (iill He 
new that he was not yet tit to act in 
udi scenes -to appear opportunely in the 
ist reel of each instalment and save 
[ortense for the next one. Hut he was 
oofident a day would come. 
On the same wall he faced also a series 
t photographs of himself. These were 
tills to he one day shown to a director 
vho would thereupon perceive his screen 
nerits. There was Merton in the natty 
•eked coat, with his hair slicked hack in 
lie appro\ ed mode and a smile upon his 
ace; a happy, careless college youth. 
There was Merton in tennis flannels, his 
lair nicely disarranged, jauntily holding 
i borrowed racquet. Here he was in a 
rench coat and the cap of a lieutenant, 
;rim of face, the jaw set, holding a 
evolver towards some one unpictured ; 
here in a wide-collared sports shirt loll- 
ng negligently upon a bench after a hard 
^me of polo or something. Again he 
ippeared in evening dress, two 
straightened fingers resting against his 
eft temple. Underneath this was written 
n a running, angular, distinguished hand, 
' Very truly yours, Clifford Armytage.' 
This, and prints of it similarly inscribed, 
vould one day go to unknown admirers 
\hn besought him for likenesses of 
limself. 

But Merton lost no time in scanning 
these pictorial triumphs. He was turn- 
ng the pages of the magazines he had 
>rought, his first hasty search being for, 
lew photographs of his heroine. He was 
mickly rewarded. Silver Screenings 
irorTered some fresh views of Beulah 
Baxter, not in dangerous moments, but 
-evealing certain quieter aspects of her 
wondrous life. In her kitchen, apron 
:lad, she stirred something. In her lofty 
■nusic room she was seated at her piano. 
In her charming library she was shown 
' Among Her Books." More charmingly 
she was portrayed with her beautiful 
arms about the shoulders of her dear old 
mother. And these accompanied an 
interview with the actress. 

The writer, one Esther Schwarz, pro- 
cessed the liveliest trepidation at first 
.meeting the screen idol, but was swiftly 
I reassured by the unaffected cordiality of 
her reception. She found that success 
had not spoiled Miss Baxter. A sincere 
artist, she yet absolutely lacked the usual 
temperament and mannerisms. She 
seemed more determined than ever to 
give the public something better and 
finer. Her splendid dignity, reserve, 
humanness, high ideals, and patient study 
of her art had but mellowed, not 
hardened, a gracious personality. Merton 
Gill received these assurances without 
surprise. He knew Beulah Baxter would 
prove to be these del'ghtful things. He 
read on for the more exciting bits. 

" I'm so interested in my work," pret- 
tily observed Miss Baxter to the inter- 
viewer; "suppose we talk only of that 
Leave out all the rest — my Beverly Hills 
home, my cars, my jewels, my Paris 
gowns, my dogs, my servants, my recrea- 
tions. It is work alone that counts, don't 
you think? We must learn that success, 
all that is beautiful and fine, requires 
work, infinite work and struggle. The 
beautiful comes only through suffering 
and sacrifice. And of course dramatic 



WOrk broadens a gill's Viewpoint, helps 
her tO get the real, the WOlth while thing, 

out oi life, enriching net nature with 

the emotional experience ot her roles 

It is through such pressure thai we grow, 

and we must grow, must we not' One 
must strive for the ideal, fol the .u t 

which will be but the pictorial expression 
ot that, and [or the emotion which must 
be touched by the illuminating vision pi 
.1 well-developed imaginatioa if the vital 
message oi the film is to be fell 

"Hut of course 1 have my leisure 
moments from the grinding stress Then 
1 turn to my books— I'm wild about 
history. And how 1 love the great tree 

out of doors ! 1 should prefer to be on 

a simple farm, were 1 a boy. The public 
would not have me a boy, you say" — she 
shrugged prettily — " oh, of course, my 
beauty, as they are pleased to call it. 
After all, why should one not speak of 
that? Beauty is just a stock in trade, you 
know. Why not acknowledge it frankly? 
But do come to my delightful kjtchen, 
where I spend many a spare moment, 
and see the lovely custard I have made 
for dear Mamma's luncheon." 
» Merton Gill was entranced by this 
exposition of the quieter side of his idol's 
life. Of course he had known she could 
not always be making narrow escapes, 
and it seemed that she was almost more 
delightful in this staid domestic life. 
Here, away from her professional perils, 
she was, it seemed, " a slim little girl 
with sad eyes and a wistful mouth." 

The picture moved him strongly. More 
than ever he was persuaded that his day 
would come. Even might come the day 



wi itteii to Photo Land " i> Beulah 
Baxter unmarried?" The answei had 

COme, " I w u e " He bad l.rrn al ' 

make little ol these replies, rnigmatu. 
ambiguous, at best Hut hr Irlt that 

some day he would at least In- choSCfl to 
ait with this slim little girl with th< 
eyes anil wistlul mouth He, it might 

be, WOtlld rescue her 1 1 0111 the bran 
ot the great oucalvptus trie glowing hard 
by the Piftfa Avenue mansion ot tin 

scoundrelly guardian This, it he 
remembered well her message about hard 
work. 

HI-, recalled now the wondrous occasion 
on which he had travelled the nearly 
hundred miles to Peoria to see his idol 
in the flesh. Her appearance had been 
advertised. It was on a Saturday night, 
but Merton had silenced old Gashwiler 
with the tale of a dying aunt in the dis- 
tant city. Even so, the old grouch had 
been none too considerate. He had 
seemed to believe that Merton's aunt 
should have died nearer to Simsbury, or 
at least have chosen a dull Monday. 

But Merton had held with dignity to 
the point ; a dying aunt wasn't to be 
hustled about as to either time or place. 
She died when her time came — even on 
a Saturday night — and where she hap- 
pened to be, though -it were a hundred 
miles from some point more convenient 
to an utter stranger. He had gone and 
thrillingly had beheld for five minutes 
his idol in the flesh, the slim little girl 
of the sorrowful eyes and wistful mouth, 
as she told the vast audience — it seemed 
to Merton that she spoke solely to him — 



On the lot 

shooting 

Western 

stuff" 




when it 
would be his 
lot to lighten 
the sorrow of 
those eyes and 
appease the wistful- 
ness of that tender mouth. 
He was less sure about this. 
He had been unable to learn 
if Beulah Baxter were still 
unwed. Silver Screenings, in 
reply to his question, had 
answered, "Perhaps." 
Camera, in its answers 
to correspondents, had said, 
" Not now." Then he had 



16 



Picture s and Picture $ver 



by what narrow chance she had been 
saved from disappointing it. She had 
missed the train, but had at once leaped 
into her high-powered roadster and made 
the journey at an average of sixty-five 
miles an hour, braving death a dozen 
times. For her public was dear to her, 
and she would not have it disappointed, 
and there she was before them in her 
trim driving suit, still breathless from 
the wild ride. 

Then she told them — Merton especially 
— how her directors had again and again 
besought her not to persist in risking her 
life in her dangerous exploits, but to 
allow a double to take her place at the 
more critical moments. But she had 
never been able to bring henself to this 
deception, for deception, in a way, it 
would be. The directors had entreated 
in vain. She would keep faith with her 
public, though full well she knew that at 
any time one of her dare-devil acts might 
prove fatal. 

Her public was very dear to her. She 
was delighted to meet it here, face to 
face, heart to heart. She clasped her 
own slender hands over her own heart 
as she said this, and there was a pathetic 
little catch in her voice as she waved 
farewell kisses to the throng. Many a 
heart besides Merton's beat more quickly 
at knowing that she must rush out to the 
high-powered roadster and be off at 
eighty miles an hour to St. Louis, where 
another vast audience would the next 
day be breathlessly awaiting her personal 
appearance. 

Merton had felt abundantly repaid for 
his journey. There had been inspiration 
in this contact. Little he minded the acid 
greeting, on his return, of a mere Gash- 
wiler, spawning in his low mind a 
monstrous suspicion that the dying aunt 
had never lived. 

Now he read in his magazines other in- 
timate interviews by other talented 
young women who had braved the 
presence of other screen idols of both 
sexes. The interviewers approached 
them with trepidation, and invariably 
found that success had not spoiled them. 
Fine artists though they were, applauded 
and richly rewarded, yet they remained 
simple, unaffected, and cordial to these 
daring reporters. They spoke with quiet 
dignity of their work, their earnest 
efforts to give the public something better 
and finer. They wished the countless 
readers of the int rviews to compre- 
hend that their triumphs had come only 
with infinite work and struggle, that the 
beautiful comes only through suffering 
and sacrifice. 

At lighter moments they s*poke gaily of 
their palatial homes, their domestic pets, 
their wives or husbands and their charm- 
ing children. They all loved the great 
out of doors, but their chief solace from 
toil was in this unruffled domesticity 
where they could forget the worries of 
an exacting profession and lead a simple 
home life. All the husbands and wives 
were more than that — they were good 
pals; and of course they read and studied 
a great deal. Many of them were wild 
about books. 

He was especially interested in the in- 
terview printed by Camera with that 
world favourite, Harold Parmalee. For 
this was the screen artist whom Merton 
most envied, and whom he cqnceived 
himself most to resemble in feature. 
The lady interviewer, Miss Augusta 
Blivens, had gone trembling into the 



presence of Harold Parmalee, to be 
instantly put at her ease by the young 
artist's simple, unaffected manner. He 
chatted of his early struggles when he 
was only too glad to accept the few 
paltry hundreds of dollars a week that were 
offered him in minor parts ; of his quick 
rise to eminence; of his unceasing effort 
to give the public something better and 
finer; of his love for the great out of 
doors; and of his daily flight to the little 
nest that sheltered his pal wife and the 
kiddies. Here he could be truly himself, 
a man's man, loving the simple things of 
life. Here, in his library, surrounded by 
his books, or in the music room plaving 
over some little Chopin prelude, or on 
the lawn romping with the giant police 
dog, he could forget the public that 
would not let him rest. 

Nor had he been spoiled in the least, said 
the interviewer, by the adulation 
poured out upon him by admiring women 
and girls in volume sufficient to turn the 
head of a less sane young man. 

" There are many beautiful women in 
the world,'" pursued the writer, " and I 
dare say there is not one who meets 
Harold Parmalee who does not love him 
in one way or another. He has mental 
brilliancy for the intellectuals, good looks 
for the empty-headed, a strong vital 
appeal, a magnetism almost overwhelm- 
ing to the susceptible, and an easy and 
supremely appealing courtesy for 
every woman he encounters." 

Merton drew a long breath after 
reading these earnest words. Would 
an interviewer some day be writing 
as much about him? He studied the 
pictures of Harold Parmalee that 
abundantly spotted the article. The full 
face, the profile, the symmetrical 
shoulders, the jaunty bearing, the 
easy, masterful smile. From each of 
these he would raise his eyes to his 
own pictured face on the wall 
above him. Undoubtedly he was 
not unlike Harold Parmalee. He 
had the nose, perhaps a bit more 
jutting than Harold's, and the chin, 
even more prominent. 

Possibly a director would have 
told him that his Harold Parmalee 
beauty was just a trifle overdone; 
that his face was just a bit past the 
line of pleasing resemblance and 
into something else. Rut at this 
moment the aspirant was re- 
assured. His eyes were pale, under 
pale brows, yet they showed well 
in the prints. And he was slightly 
built, pOrhaps even thin, but a diet 
rich in fats would remedy that. 
And, even if he were quite a little 
less comelv than Parmalee, be 
would still be impressive. After all, 
a great deal depended upon the 
acting, and he was learning to 
act. 

Months ago, the resolution 
big in his heart, he 
had answered the advertisement 
in Silver Screenings, urging him to "Learn 
Movie Acting, a fascinating profession 
that pays big. Would you like to know," 
it demanded, " if you are adapted to this 
work? If so, send ten cents for our 
Ten-Hour Talent-Prover, or Key to 
Movie-Acting Aptitude, and find whether 
you are suited to take it up." 

Merton had earnestly wished to know 
this, and had sent ten cents to the Film 
Incorporation Bureau, Station N, Steb- 
binsville, Arkansas. The Talent-Prover, 



MARCH 1925 

or Key to Movie-Acting Aptitude, had 
come ; he had mailed his answers to the 
questions and waited an anguished ten 
days, fearing that he would prove to lack 
the required aptitude for this great art 
But at last the cheering news had conie. 
He had every aptitude in full measure, 
and all that remained was to subscribe 
to the correspondence course. 

He had felt weak in the moment of his 
relief from this torturing anxiety. Sup- 
pose they had told him that he wouldn't 
do? And he had studied the lessons 
with unswerving determination. Xigh» 
and day he had held to his ideal. He 
knew that when you did this your hour 
was bound to come. 




He yawned now, thinking, instead of 
the anger expressions he should have 
been practising, of the sordid things he 
must do to-morrow. He must be up at 
five, sprinkle the floor, sweep it, take 
down the dust curtains from the shelves 
of dry goods, clean and fill the lamps, 
then station outside the dummies in their 
raiment. All day he would serve cus- 
tomers, snatching a hasty lunch of 
crackers and cheese behind the grocery 
counter. And at night, instead of twice 



, 



MARCH 1925 



Pictures and Pictvirepuer 



\7 



watching The Hazards of H or tense, he 

must still unreasonably serve late cus- 
tomers until the second unwinding of 
those delectable reels. 

He suddenly sickened of it all. Was 
he not sufficiently versed in the art he 
had chosen to practise? And old Gash 
wiler every day getting harder to bear ! 
His resolve stiffened He would not 
wait much longer — only until the savings 
hidden under the grocery counter had 
grown a bit. He made ready tor bed. 
taking, after he had undressed, some 
dumb-bell exercises that would make his 
shoulders a triHe more like Harold 
Parmalee's. This rite concluded, be 
knelt by his narrow cot and prayed 
briefly. 

"Oh, God, make me a good movie 
actor ! Make me one of the best ' For 
Jesus' sake, amen!" 

CHAPTER III. 

Saturday proved all that his black fore- 
bodings had pictured it — a day of 
sordid, harassing toil ; toil, moreover, for 
which Gashwiler, the beneficiary, showed 
but the scantiest appre- 
ciation. Indeed the ^ 
day opened with a jtȤ'. 
disagreement be- 
tween the forward- 
looking clerk and 
his hidebound re- i 
actionary. Gash- ^^ ^ M 
wiler had reached ' 
the store at his 

accustomed hoflr — ^ 

of 8.30 to find 
Merton embel- 
lishing the 




/ 



} 



l&) 



V 



excuse to nag, and criticised this 

"Why don't > v » n s.iv ' .1 yard,' a an, 

'a pound'?" he demanded li.ir-.tily 
" What's the sense ol tli.il then ' tin ' 

Mud ' Looks to me like just putting on 
a ieu airs You keep to pi. on language 
.ind our patrons')] like il ■ lot bettei " 
\ ieiouslx Merton Gill rubbed out the 

modern " the " and Substituted the 

desired " a 

"Very well," he assented, "il you'd 
rather stick to tin- old-fashioned wa> . 
but 1 can tell yon that's the way city 
Motes do it. I thought you might want 
to be up-to-date, but I see I made a great 

mistake " 

" Humph!" said Gashwiler, unbitten by 

this irony. " 1 guess the old way's good 
enough, long's our prices are always 

right Don't forget to put on that canned 
salmon. 1 had that in stoek tor nearly 
a year now and say it's twentj Cents 
'a' can, not 'the' can. Also say it's a 
grand reduction from thirty-five cents ." 

That was always the way. You never 

could please the old grouch, And so 
began the labour that lasted until nine 
that night. Merton must count out eggs 
and weigh butter that was brought in. 
He must do up sugar and grind coffee 
and measure dress goods and match 
silks; he must with the suavest gentility 
ask if there would not be something else 
to-day; and he must see that babies 
left hazardously left on counters did not 
roll off. 

He lived in a vortex of mental con- 
fusion, performing his tasks mechanically. 
When drawing a gallon of kerosene or 
refolding the shown dress goods, or at 
any task not requiring him to be genially 
talkative, he would be saying to Miss 
Augusta Blivens in far-off Holly- 
wood, "Yes, my wife is more than 
a wife. She is my best pal, and, 
I may also add, my severest 
critic " 




i 



'•* 



Mertdn Gill was entranced by the new 

Scree 

bulletin board in front with legends set- 
ting forth especial bargains of the day 
to be had within. Chalk in hand, he had 
neatly written. "See our new importation 
of taffetas, $2.59 the yard." Below this 
he was in the act of putting down, " Try 
our choice Honey-dew spinach, 20 cts. 
the can." " Try our Preferred Chipped 
Beef, 58 cts. the pound." 

He was especially liking that use of 
" the." It sounded modern. Yet along 
came Gashwiler, as if seeking an early 



photographs of his heroine in " Silver 
nings." 

There was but one break in the dreary 
monotony, and that was when Lowell 
Hardy, Simsbury's highly artistic photo- 
grapher, came in to leave an order for 
groceries. Lowell wore a soft hat with 
rakish brim, and affected low collars and 
flowing cravats, the artistic effect of these 
being heightened in his studio work by a 
purple velvet jacket. Even in Gash- 
wiler's he stood out as an artist. Merton 
received his order, and noting that Gash- 
wiler was beyond ear-shot bespoke his 



■ I tin following aft< n 
" Say, Low< II, be on tin lot at two 
sharp to-morrow, will you? I want to 
shoot si, me Western inn some stills." 

Merton thrilled as he used these hi] 
technical phrases. H< bad not read Ins 

tines foi nothing 

Lowell I lank considered, th< n ■ 
sented He believed that he, too, might 
s"ine da) be called to Hollywood 

they bad SCCII the |OTl of WOrk hi I oiild 
turn OUL He always finished his art 

studies pi Merton with gr< and 

took pains to hive the artist's signature 
entirely legible " All right, Mert, I'll be 
there I got some new patent paper I'll 

try out on these." 

" ( in the lot at two sharp to shoot 

Western stuff," repeated Merton with 
relish 

"Right-o!" assented Lowell, and re- 
turned to more prosaic studio art 

The day wore itself to a glad end. The 
last exigent customer bad gone, the cur- 
tains wire up, the lights were out, and 
at five minutes past nine the released 
slave, meeting Tessie Kcarns at her front 
door, escorted her with a high heart to 
the second show at the Bijou Palace 

"They debated staying on until after the 
w retched comedy had been run, but later 
agreed that they should see this, as 
Tessie keenly wished to know why p. 
laughed at such things. The antics of 
the painfully cross-eyed man distressed 
them both, though the mental inferiors 
by whom they were surrounded laughed 
noisilv. Merton wondered how any pro- 
ducer could bring himself to debase so 
great an art, and Tessie wondered if she 
hadn't, in a way, been aiming over the 
public's head with her scenarios. After 
all, you had to give the public what it 
wanted. She began to devise comedy 
elements for her next drama. 

But The Hazards of H or tense came 
mercifully to soothe their annoyance 
The slim little girl with a wistful smile 
underwent a rich variety of hazards, 
each threatening a terrible death. 
Through them all she came unscathed, 
leaving behind her a trail of infuriated 
scoundrels whom she had thwarted. She 
escaped from an underworld den in a 
Chicago slum just in the nick of time, 
cleverly concealing herself in the 
branches of the great eucalyptus tree 
that grew hard by, while her maddened 
pursuers scattered in their search for 
the prize. Again she was captured, this 
time to be conveyed by aeroplane, a 
helpless prisoner and subject to the most 
fiendish insults by Black Steve, to the 
frozen North. But in the far Alaskan 
wilds she eluded the fiends and drove 
swiftly over the frozen wastes with their 
only dog team. 

Having left her pursuers far behind, 
she decided to rest for the night in a 
deserted cabin along the way. Here a 
blizzard drove snow through the chinks 
between the logs, and a pack of fierce 
wolves besieged her. She tried to bar 
the door, but the bar was gone. At that 
moment she heard a call. Could it be 
Black Steve again? No, thank Heaven! 
The door was pushed open and there 
stood Ralph Murdock, her fiance. There 
was a quick embrace and words of cheer 
from Ralph. They must go on. 

But no, the wind cut like a knife, and 
the wolves still prowled. The film here 
showed a running insert of cruel wolves 
exposing all their fangs. Ralph had lost 
his rifle. He went now to put his arm 
(Continued on page 78). 



18 



Pictures and Picl~\jrepuer 



MARCH 1925 



^mor\or\Lhe 



ivierex 



Ramon Novarro 
visited Monte 

Carlo on his way 
home. 




Ramon can now testify thai the 
Monte Carlo sets in " Foolish 
Wives" were absolutely correct. 



MARCH 1925 



Pictures and P/ct\jrepuer 



19 




,^Jy KUDOLPH VALtNlINO 




Of course the Valentino's 
visited the ancient cata- 
combs near Rome. 

Campo Basso, Septembci 

AFTER 
we .had 
talked a 
few mo- 
ments, I asked 
where my 
brother was 
and learned 
that he was 
still at his 
office I 
couldn't wait 
until he should 
return, where- 
upon my sister- 
in-law in- 
formed me that 
she could see 
well enough 
where her small 
son's impetu- 
osity of charac- 
ter came from. 
I followed 
the boy down 
the stairs, we 

climbed into the car, my small 
nephew, of course, in the front 
seat with me. Auntie and my 
sister laughed and said that 
this direct method of meeting 
my brother was somewhat different 
from the involved procedure we had 
gone through to meet her. And I told 
her that she had always "led me a life," 
and had, in that respect, in no wise 
changed. 

A lso, I had the deuce of a time try- 
^^ ing to drive. If Natacha had been 
with me that time, she would have 
started back to Nice on foot, if need be. 
Certainly she would have appreciated 
former performances if only by com- 
parison. 

My small nephew tooted the horn at 
intervals, when no horn was called for. 
He tried to grab the wheel, the brakes 



Another Roman snapshot of Rudy, his 
■wife and three friends. 

... an absolute, reincarnated Mercury. 
He couldn't stand still or sit still for 
one instant. I called him Mercury and 
he liked it Seemed to feel that it did 
fit him rather well. " Mcrcurio " is 
Italian for quicksilver. 

We finally arrived at the City Hall, 
the office of my brother, who is Secre- 
tary-General of Campo Basso, which is 
the "capoluogo" or capital of the whole 
province. It is a very responsible posi- 
tion, a kind of lieutenant governorship. 



From Rome Rudy and Natacha set 

forth towards Campo Basso and Castel- 

laneta where our hero was born. 

as it would be rated in America. 

Last y Liue of his splendid 

work, he was decorated with the Croat 

Chevalier of tb<- Crown, and thai 

wry greal honour. 

Wc embraced and I found him little 

changed. I have found that men 

change much less than 

n with the years. 

He thought that I 

had changed. 

but that was 

only because I 

was nothing 

but a boy when 

I had left 

home and had 

been away 

during the 

t r a n s i - 

tional years of 

the greatest 

change of all. 

When I left f 

had been quiie 

short, and now 

I am towering 

above him. 

After wc 
bad talked for 
a while, he 
took us over to 
the hotel, be- 
cause h i s 
house was 
quite small and 
not large 
enough to 
accommo- 
datc us all. We 
the hotel room 
until dinner time, talking . . . 
talking . . . 

I shall go into that to- 
morrow. One of the last 
things I promised Natacha was that I 
wouldn't burn too much midnight oil 
over this diary. I shall keep the 
promise, though it is a temptation to go 
on. 

Campo Basso, September Mill. 
I left myself talking to my brother . . . 
and we did talk. Most of our talk- 
was, as it is with men, I think, of what 
we had been doing since we had seen 
one another. 

Of course, he wanted to know all 
about my work, more I think, from the 
business and administrative end of it 
than from the purely artistic. I told 
him of the growth of the " infant in- 



down 



3 



20 




P/chures end Pichuretyver 



I suggested to 
him that he 
arrange with the 
Mayor for a big 
showing of my 
picture, ' The 
Four Horse- 
men, charge 
enormous prices 
for it and use 



MARCH 1925 

the money to accomplish his 
end of the restoration. I 
would arrange to get a print 
for him. 

I told him that I would get 
into communication with the 
proper people at once and if 
he would go about his end of 
the arrangement, it would 
only be a matter of a few 
days. 

Campo Basso, Sept. 17th. 
[ am leaving Campo Basso 
to-day. I have arranged for 
the showing of the picture, 
and my brother has satisfac- 
torily completed his -end of 
the project. He says that he 
will write me all the details 



The Coliseum, Rome, which Rudolph 
visited many times during his stay. 

dustry " from a more or less amateurish 
and clap trap affair to an industry 
ranked among the largest and most 
important in the world. I told him of 
all the worthwhile men connected with 
it. University men. Business men. 
Artists, too. And we talked a great 
deal about the educational end of pic- 
tures, what they can accomplish where 
textbooks and talking all but fail .... 
He had never seen a picture of mine, 
though by this time I was not surprised 
at that. And the result was that he 
knew really very little indeed about my 
work and what it meant. I had sent him 
clippings from time to time, but a great 
many of them had never reached him 
and as he doesn't read English anyway, 
he hadn't gained much from me. As 
for the magazines I had sent him from 
time to time, fan magazines with inter- 
views, etcetera, in them, and trade 
magazines with, reports of my pictures, 
he had never received any of them. I 
rather imagine that the gentlemen at 
the frontier kept the magazines for 
themselves. 

L_Ic asked me if I would arrange for 
him to see one of my pictures, and I 
told him that I certainly would. I must 
see about that to-morrow. 

Then, as we were talking, an idea 
came to both of us. 

Way up on top of Campo Basso, right 
on top of a high commanding hill, there 
is a Castle, Castle Mon forte, which 
belonged to the Duke of Mon forte. It 
is a historic fortress here in Italy 
throughout the period of feudal wars. 




^i 



It was built in 
1100 by one of 
the Dukes, and 
both the castle 
and the fort- 
ress have figured in many battles. 

It came out in the course of my 
brother's talk that the city wants to 
make this castle into a war monument. 
Their plan is to reconstruct a part of 
it, and bring back the bodies of all the 
boys of Campo Basso who were killed 
in the war and bury them there. By so 
doing they would make of it a national 
monument to the heroes who died in 
the great war. They are, my brother 
told me, trying to raise the money to do 
this. 




of the reception of the picture, etcetera, 
when I get back to Nice. 

My brother wants me J.o stay here 
longer, but I want to get back to Nice 
in time to be able to stay there three or 
four days, and I can't do it if I get 
behind my schedule now. And I have 
to go back to Paris, too, because of 
business that has come up there. 

One thing I have noted in regard to 
my mind and temperament, where pro- 
crastination is concerned, and that i? 
that if I am ever led to neglect matter 



MARCH 1925 



Pictures and P/cfv/re$ver 






up to a certain point — invariably my 
conscience will pride me into action m 
order to overcome as quickly as possi- 
ble whatever faults have been caused by 
the delay. As a general rule. 1 have 
schooled myself to be punctual. And, 
.is a g ener al rule, I am. But when one 
is vacationing, good resolutions are apt 
to slumber while we drift along with 
the current of everyday pleasures. 

1 really waited in Campo Basso 
longer than I should have, because I 
found the spring in my car broken and 
1 had to wait until a new spring was put 
in. As I have before remarked, things 
are not done in my country with the 
expedition one finds in America. This 
includes cars as well as service and 
telegrams. 

1 spent pleasant days with my 
brother, my sister-in-law and my little 
nephew, for whom I predict a earn r 
either in the cinema or in cars. He 
seems to lean slightly toward the cars 
right now, but may change with age. 
His agility should land him somewhere, 
certainly. He can get over more 
ground in a shorter space of time and 
with less apparent effort, than any other 
human being I have ever noticed, unless 
it might be Douglas Fairbanks at his 
best. 

To-night I shall say good-bye again 
to my brother and his family and pro- 
ceed southward. 

Had a wire and a letter from Natacha 
saying that she is feeling rested and is 
enjoying the sunshine and late flowers. 
She also gave me detailed accounts of 
the various dogs. 

Tarcnto, September \9th. 
\Y/e left Campo Basso in the morning 
The last sight I had was an animated 
one of my small nephew executing 
gymnastics of farewell as we vanished 
down the road. The sun struck him full 
on. and he seemed a veritable sliver of 
quicksilver prancing there in the centre 
of the road. I don't know whether he 
felt sorrier at seeing me go, or sorrier 
at seeing the car vanish. His affections 
seemed to be pretty equally divided. A 
nice kid. . . . 

On the way to Campo Basso, I had 
only one flat tyre. But going from 
Campo Basso to Tarento I had three. 



Fortunately, I was able to change the 

first two 

This was DO light task whilst 

sprawling in the dust of the sunny road 

in niv overalls. The third one occurred 

just as I arrived in from of the hotel 

in Tarento. 
The rest of the family waited at the 

hotel while I drove about OH a fl.it tyre 
trying tO locate help. When help tailed, 
We QUI Up here ior the night to await 
the arrival of the salvaging tyre. 

I had a good night's rest, wrote tO 
Natacha and some letters to people at 
home, and a couple of books 1 hadn't 
had time to get to before, and talked 
a long while with Auntie and my sister, 
going over what we had done on our 
trip and what was in store for US. 

As 1 realised how near I was to the 
last pivotal point of my journey — my 
home town — I felt a sense of welling 
excitement, such as I had felt when we 
left New York, when we reached Lon- 
don, when we reached Paris, Nice, 
Milan and Rome. I felt as though I 
had been making progressive journeys 
back and back into my youth. To- 
morrow I should get straight back to 
my babyhood. The house where I was 
born. The streets and garden where I 
had made the proverbial mudpies — and 
where I had pitched my first ball. 

As we came on further South, we 
came through a 
country where an 
automobile is rarely 
seen. To the children, 
no doubt, my whir- 
ring machine seemed 
much like a smoke- 
emitting dragon skid- 
ding miraculously 
along a common- 
place road. They 
greeted me invariably 
with shrieks and 
squeals of wonder- 
ment and delight, and 
some among them, the 

Right : Rudy and 
the car in which 
he toured Europe. 



most \ illt HI i soim , took ad\ alit.i. • 
Rle win n 1 had tO slow down, by way of 

attaching themselves to the fender or 
any other precarious place they could 
lay feel and hands to, to steal a rii 

I was afraid they would ^'el hurt and 

I was more than certain that if tiny 
did I would be held responsible for 
them, 

\ we got further South, about 4.30 
that afternoon, the children had splen- 
did opportunities with me, every one of 

winch they availed themselves of. I 
had to <;o very slowly indeed, bCC 
of the Country people coming back from 
the fields, driving their donkey Carts or 

walking. Most of the people hereabouts 

have mules, and most of them have 
never so much as seen an automobile, 
save in a stray, accidental picture. Both 
the ])eople and the mules got nervous 
and frightened. 

All the way that day I had to drive 
slowly because of the scared and 
frightened animals and the terrible con- 
dition of the road. It got worse as we 
went along. 

But as night approached, there was 
a gorgeous sunset, and a huge orange 
moon arose, as huge as a house, so that 
we felt somewhat repaid and calmed for 
the pains we were taking. 

However, irritating and aggravating 
as a dusty, fretful day maybe, I defy any 




Monte Forte, 
an ancient 
castle at 
Campo Basso. 
It was built in 
1100 and both 
castle and for- 
tress haze 
figured in many 
sieges and 
battles during 
the feudal 




man or woman with 
so much as the germ 
of beauty within, to 
remain chafed and 
fretted when a moon 
like saffron silk rises 
above a land as 
purple as deep iris. 
There is something, 
too, in the air of 
night, rising out of 
the ground, that 
holds a nectar of 
soothing and sleep. 
Little things fade 
away and are lost in 
the silver shot im- 
mensities. . . 

I am very tired. 
More of our arrival 
to-morrow. 



22 



P/cfvres and Pichurepoer 



MARCH 1925 



Castellaneta, September 20th. 

l_Jome again ! 

The town that I was born in ! 
The place that is fabled, storied, sung, 
sentimentalised over, revered and 
poked fun at ! As a matter of fact, T 
do suppose that the town one is born in 
is largely a sentimental matter. The 
sentiment of tradition. For, in many 
cases, as in my own, only the 'earliest 
years are lived in the town one is born 
in, and all of the really important and 
significant events of one's life take place 
-very far from the natal spot. 

Well, it may be all " hokum." There 
may be " nothing to it." And I may be 
only a " victim " of past scenes and 
memories. But I know that a lump rose 
in my throat and a film crossed my 
eyes as I pointed out to Auntie the 
square, flat-roofed farmhouse built of 
heavy white stone — the house where I 

Rudy with his nephew, Jean Guglielmi 

- 



leave one's windows open to 
the night. 

But I am getting miles 
ahead of myself. 

While we were in Tarento 
(though I was born in Cas- 
tellaneta. I lived in town a 
great deal), our cousin met 
me. 

I was much surprised to 
see how the town had 
changed. Somehow I had 
not expected it to. That is 
another curious psychological 
or egotistical fact about the 
traveller. 
One sub- 
consciously or 
unconsciously 
believes 
that v |^»< 





was born. I was even guilty of show- 
ing her the shuttered windows of the 
very room wherein the epochal event 
had miraculously taken place ! I can 
laugh at it, but the laughter is not alto- 
gether free of a softer sentiment. 

I am not ashamed of it. He who can- 
not be stirred is in process of dying, 
emotionally, if no other way. I remem- 
bered so well the ceremony of closing 
those casement windows and barring 
them at night. The spot where I spent 
my childhood was not policed as are 
the suburbs of America, making it 
neither feasible, nor entirely safe, to 



every- 
thing 
will be quite 
the same as it 
was when 
one left. 
Many and 
many a time 
I have heard 
a person say, 
upon returning 

home after a long 
absence, "Why, how 
changed it all is !" 
almost in tones of 
disapproval, a s 
though things 

should have been 
left just as they 
were until that par- 
ticular person came 
back again. We 
only believe in the 
changes we see and 
we scarcely realise 
them half of the 
time. 

During the war, 
this town was an 
important military 
base. The troops went to Salonica, the 
Balkans — the French, English and 
Italian troops leaving from Tarento, 
one of the biggest Italian naval bases. 
I was especially surprised to see that 
they are so modern as to have an elec- 
tric street car line, because, up to the 
time of the war, they only had an omni- 
bus, very creaky and antique, drawn by 
two horses. However, that one line 
was all the traffic. You saw cabs, but 
the regular service was done by these 
horse carriages and now they've become 
so modern as to have a street car line. 
Also, the roads are improved and 
they have put in electric lights. 



^* 



W<J ^T 



Above : The famous Neptune fountain 
at Bologna. 

I exclaimed over each and every 
detail, and my cousin was amazed that 
I remembered so much, and so much in 
detail. 

As a matter of fact, I went through 
a very introspective period of my young 
life while I went to school at Tarento. 
We owned a house here at that time and 
came here to live when I was nine 
years old, after w.hich we never went 
back to Castellaneta to live for any 
length of time. 

It was while I was here at school that 
I became to myself an imaginary 
figure of great excellence, daring and 
glamorous. The deficiencies of my 
every day life and my every day studies 
(which were neither brilliant nor 
promising), I compensated for by the 
stories I secretly wove about my Other 
Self. The imaginary Me. The gallant 
and dashing figure I dreamed myself to 
be. Perhaps the inception of my screen 
life took place then and there. No 
doubt Professor Freud would find it so. 
For certainly I walked myself through 
stories, legends, crusades and battles of 
the most rich and intricate material. 

My favourite work of literature at 
the time was "The Adventure of India." 
but even the author of that volume 
could not rival me in my inner imagin- 
ings. I grew to seem quiet and 
visionary on the outside, but innerly I 
was seething with desperate adventures. 
I was in turn desperado, explorer, 
chivalrous knight and the warrior- 
rescuer of scores of beleaguered and 
beautiful ladies in distress. In my more 
martial and more valiant moments, I 
saw myself stained with the blood of 
hardily won battles, maimed, but trium- 
phant after perils the like of which 
have probably never taken place on land 
or sea. I was knighted and acclaimed 
by the King and Queen. 

(Continued on page!4). 



MARCH 1925 



Pictures and Pichdre$oer 



23 



My I repressions 
_op\dor\ 

JojCd to ELIZABETH LOINERGAFN 

n o 5.flnnflaniL550h 



Anna Q. Nilsson is another of the 
American stars who has worked 
abroad and who thoroughly en- 
joyed the experience. With a 
number of other American players she 
helped make two Famous Players 
successes, The Man from Home and 
Three Live Ghosts, which were filmed 
in London and on the Continent. 

"' I do not know why it is that I am 
always chosen to play English ladies," 
she said between the shots of a picture 
which she was making for an Earl 
Hudson release. " Each company that 1 
play with seems to pick me out for 
English parts and I surely appreciate 
the compliment. In Three Live Ghosts 
I was British but decidely American in 
The Man From Hone. 

" Mr. Fitzmaurice made these two in 
England and I cannot tell you how 
much I enjoyed my first glimpse of 
England. In the short time we were 
there I made many good friends and I 
stem to have ' fan ' admirers also. In 
The Sideshow- of Life, a recent pic- 
ture for Famous Lasky. I played oppo- 
site Ernest Torrence in the dramatisa- 
tion of an English novel (' The 
Mountebank ') which was made by an 
English, director, Herbert Brenon. 
Quite a coincidence, I think. Then I 
have played similar roles in Top of the 
World, Ponjola and Rustic of Silk.'' 

' Did you really cut off your hair to 
play the boy's role in Ponjola?" 

" Indeed I did and I haven't regretted 
it a minute. It is growing in splendidly 
and I much prefer the freedom of short 
hair." 

Anna 0. Nilsson started her screen 
*^career in the old Kalem Studio which 
is said to have produced more stars than 
any other. Among them — Alice Joyce, 
Tom Moore, Marguerite Courtot, Car- 
lyle Blackwell, Helen Holmes, J. P. 
McGowan and a number of others. 

With Alice Joyce, Mabel Normand, 
Florence La Badie (who died soon after 
completing The Million Dollar Mystery) 
she was one of those who stepped from 
posing for fashion photographs into 
the studio and has a great many excel- 
lent roles to her credit on the screen. 

Her eleven months abroad was not- 
able for two things. One was a trip to 
Sweden which she had not visited since 
her childhood and the other was that 
she saw a real London fog and it was 





Above: In 
" I hree Live 
G hosts," 
:v h i c h W a s 
made this 
side. 

Left: A scene from 
" Inez from Iiolly- 
ivood," her newest 
film. 

theatres, the charming home life, 
and the many opportunities for 
outdoor sports. 

"Everyone I met was lovely to 
me and it is no wonder that I 
am anxious to go back." 



r* 




Above: In " The Man from 

Home," which was made in 

Europe. 



just as dense as she had imagined from 
reading about it in Aemrican journals ! 

" Did it dampen your enthusiasm for 
England," 

"Indeed not!" Miss Nilsson replied. 
" It quite added to the thrill of the 
wonderful trip and some day I hope to 
see another one. The things I en- 
joyed most in England were the 




\ • 



24 



Pictures and P/chjre$oer 



MARCH 1925 



xtr^ 




The extra girl of to day is the star of to-morrow, according to Movie 
history. This will tell you all about her. 



studios and got her first job in five 
days. But this girl was unusually 
pretty and unusually well-prepared for 
conquest. She had brought along her 
mother and enough money to live on 
comfortably for two years. In con- 
trast to her was a former vaudeville 
dancer who acknowledged she had 
expected great things with her train- 
ing and had had to wait three months 
for a " bit," a maid part that lasted 
three days. 

On this all the girls agreed, that it 
was not the initial plunge, not getting 
into the movies, that was the hardest. 
It was staying in. You might get a 
day's work immediately and then wait 



Smart 

gowns are 

a vital necessary to Miss Extra. 

It doesn't take a cross-word puzzle 
to guess what an extra girl 
worries about, especially after a 
few days on a Hollywood lot. 
And it isn't, as one might suppose, the 
attainment of stardom. No, because 
if she is young and fresh she looks 
upon stardom as her natural right 
which will follow in due course of time, 
and if she is older and experienced in 
the game the idea of stardom figures 
in her mind only as a lucky accident. 
The chief problems of the extra girl 
don't have to do with temptations, 
villains, or even food and lodging. All 
she has to worry about is where her 
next job is coming from and whether 
her clothes will hold out. 

[ am talking now, of course, only of 
the professional extra girls as distin- 
guished from the feminine Mortons 
who arc at this moment either on their 
way to Los Angeles plus all their 
worldly wealth or on their way back 
to the middle west minus. These 
latter are so generally inexperienced 
that they are bound 10 drop out too 
early to be of much account in movie 
annals. Also, I don't include in my 
discussion of problems the large float- 
ing amateur class of extras who only 
work once in a while, for they have 
no problems. 

A professional extra is usually a girl 
with some training either on the stage 
or in an artist's studio. Most of the 
girls I met who wore making any 
headway had had such training, 
though it's not absolutely necessary, 
and they could all do dozens of things 
like ride horseback, swim, do acrobatic 



mpn 



f •• * > 



A gronf 1 of extras outside hanious l.asky's casting office in Hollywood. 



for at least the week the show opens, 
no matter how flat it falls. But an 
extra girl must look for a new job 
every day, and on certain calls, like 
weather permitting calls, she can 
never be sure that she won't he back 
in a few hours as jobless and payless 
as ever. 

I was lucky enough once to get a 
job as extra on the Goldwyn lot during 
the filming of a Mae Murray picture. 
There were about thirty-five girls 
working in the cabaret scene, of the 
highest class qf professional extra, and 
I asked them to estimate how much 
work they got per week on an average 
and how long it had taken them to get 
their first job. 

Naturally their answers didn't agree 
at all. There was one girl, a former 
photographic model and winner in a 
beauty contest, who had come from 
Chicago, made the rounds of the 



for weeks before you worked another 
day. Seldom did one find a whole 
week's work. Four days a week at 
$7.50 a day, generally less seven per 
cent for the co-operative screen ser- 
vice through which most of the studios 
get their extras, was the maximum 
you could expect and you were lucky 
if you got that. All these girls 
had had intervals of a week, even a 
month, when nobody in the world 
seemed to need an extra, not to speak 
of the even more fruitless periods of 
slump when the studios stopped pro- 
ducing. 

They had had to make an exact 
science of work-hunting, and this was 
the advice they gave to me. a 
beginner : 

(1) Don't wait around the studios 
on the chance that something may 
turn up. Only amateurs do that. 

(2) Register at all the studios and 



MARCH 1925 



Pictures and Pichjre$uer 



25 



register with the co-operative screen 

serv-ice and if you can afford it, with 
some of the reputable commercial 
agencies. 

(3) Telephone all the studios every 
day you're not working, and make the 
rounds at intervals, getting in to see 
the casting director as often as 
possible. 

(4) Keep your ears open and the 
minute you hear that any studio is 
Casting or about to cast, be on your 
way over. 

(5) You must have a telephone and 
someone always in to take messages, 
for the screen service, the studios and 
the casting directors do call up on 
occasion. 

This sounds as if most of the 
extra's wages would be consumed by 
car fare and telephone calls. Then 
how do they live on their earnings? 
That's simple. They don't. Neither 
do they, so far as I could find out, 
make a speciality of living on the 
wages of sin. 

I've said that the professional extras 
don't worry about board and lodging, 
and it's true. Some live at home, 
some are married, some have come out 
with mother and her savings, some 
give lessons, conduct dancing classes, 
have all sorts of avocations. One 
extra girl I know is moving picture 
correspondent for a paper in Alabama 
and writes for the motion picture 
magazines. Another dances occasion- 
ally in special prologues at the Los 
Angeles motion picture theatres. One 
girl embroiders initials on linen and 
sews hand-made underwear, and takes 
subscriptions for magazines. 

There are any number of girls, too, 

Fred Niblo and a group of 




» » • Tk 



"» i b i • « t ft 



For a f>criod picture like " Bcaucaire," 

who rely on relatives around the 
studio, anyone from the featured 
player to the cameraman, and who 
may get extra breaks sometimes for 
that reason. Moving picture people 
are just as human as other people, and 
given a choice between two extras )f 
equal ability, one of whom is vouched 
for by someone connected with the 
studio and one of whom isn't, the 
choice is not unlikely to land on the 
former. 

If it were only a question of exist- 
ing between jobs, more extra girls 
would be able to hang on. But it 
isn't. The extra girl must be well- 
dressed, and as a general rule, have 

Italian extras for " Ben Hur." 




the company furnishes all the costumes. 

a fairly complete wardrobe. Con- 
sidering the amount of wear and tear 
dresses get in the movies and the way 
fashions change, this is an acute 
problem. Not many of the studios 
have wardrobes for modern plays. To 
be sure, the studios pay extras $10 and 
$12 when they wear elaborate cos- 
tumes and reimburse them for undue 
wear and tear, but this reimbursement 
amounts to perhaps $15 for an expen- 
sive dress. 

Much harder to fight than tempta- 
tions is the loneliness which so 
many have to bear. There is 
only one club for extra girls, 
the Hollywood Club, where a 
certain number can board for 
$10.50 a week. But I couldn't 
learn of any purely social clubs. 
If a girl comes out alone, she has 
co pick her friends and associates 
and often roommates, for most of 
the girls double up in small apart- 
ments, around the studios. 

That is why, if the professional 
extra girl gave any advice to be- 
ginners, she would tell them first 
of all to bring their mothers or 
some member of their families. 
Secondly, they should have 
enough money to last them for a' 
least a year. Training of some 
sort, on the stage, or in dancing, 
or posing, is an asset if only in 
that it has given the girl some 
experience of the world of pro- 
fessional people and some poise. 
An avocation, some way in which 
one can earn money on the side, 
is also a great help. 

If a girl sets out so equipped 
and has a good screen personality, 
she has at least an even chance to 
become a star. For that's not as 
hopeless a proceeding as it sounds. 
The movies have loads of people, 
to be sure, but the movies are 
always looking for new people. 
Catherine Brody. 



26 



Picture s and Picture $uer 



MARCH 1925 



>, 





orvwx 




* A baffling, intriguing creature, with those flying eyes that do so much heart 
# damage. Doris Kenyon is a princess in a fairy tale, a proud princess with a 

frozen heart. 



A baffling, intriguing 
creature, with those flying 
eyes that do so much heart- 
damage — eyes like Priscilla 
Dean's, but a spirit of ice 
where Priscilla's is flame. 
A princess in a fairy tale, 
a proud princess with a 
frozen heart. 



Above and right : Two characteristic 
studies of Doris Kenyon. 

As the sedan chair containing 
Lady Mary Carlisle glided 
upon the screen in Monsieur 
Bcaucaire, and the door 
opened to reveal her, there was a sud- 
den rustling of programmes in the 
audience and a subdued murmur of 
questioning. 

'* Who is she?" asked a man without 
a programme. 

" Doris Kenyon," said his neighbour. 

" Never seen her," said the first man. 

" Your loss," said the second, 
briefly, and added, after a pause, 
" Loveliest thing on the screen." 

Yes, the description is not such a 
bad one When all is said and done, but 
it is only a beginning. Lovely, very, 
with her grey eyes and dark hair and 
apple blossom colouring, quite one of 
the loveliest girls in filmdom. But 
Doris Kenyon is much more than that. 
Her looks are not the key to her 
peculiar charm. Indeed, I wonder very much 
whether- anyone yet has found the key, and if anyone 
ever will. It certainly does not lie in beauty of eyes 
or form or hair. 

r^oris Kenyon, of all the heroines of the screen, is 
one of the most tantalising. She falls into no 
special class. She is quite individual, a woman 
apart. You cannot judge her by any of the accepted 
standards of talent and charm; you are clever if you 
can coldly judge her at all. She seems to have given 
us all of herself, but when we analyse it, she has 
given us nothing. She is an everlasting mystery. 

And the curious part of it all is that Doris Kenyon 
has expressed herself in every one of the arts, trans- 
lated her spirit through speech and line and move- 
ment to waiting thousands; she -has never hidden 
herself away or denied herself to the public she has 
eleoted to serve, but through it all the real woman 
remains unknown, a mystery. 

She appears .to have thrown all her cards on the 
table, but in her own hand she holds the trump. 



Perhaps Doris Kenyon would laugh 
at all this, but at bottom she would 
know it was true. She must be well 
enough aware that her real self has 
never yet come before an audience, 
and that by this very isolation she 
holds them sure. The attraction of 
the unknown, the unexplained, is a 
wonderful thing that the kinema has 
too much neglected. 

e know too much about our stars 
and their private lives; they give 
away too much of themselves in every 
part they play. We feel sure of them, 
feel them to be ours for the asking, at 
the price of'a seat in the nearest picture 
theatre. We come to expect their 
charms too cheaply, and grieve when 
we get to the bottom of the very charm 
we have demanded. But there is no 
danger with Doris, that complete 
understanding will break the spell. 

Perhaps there can never be a com- 
plete understanding of girls with fly- 
away eyes. . . 

There is nothing cold about Doris 
to the outward senses. She is charm- 
ing and enthusiastic, ready to talk 
about anything and all things. 

Che is a mass of appreciations, 
quick to respond and generous 
in criticism. Her enthusiasms 

are music and Madge Kennedy, 
Farrar and colours. Her range of 
conversation is extraordinary, until 
you realise that she has done almost 




' Idle 



MARCH 1925 



Pictures and P/cfurepoer 



27 




n i'v watching hex dance and 
ting behind the Nen SfoA fool 
lights, m read bei clever work m 
American iw guinea One of hrr 
earliest films wu .1 Pathe* aerial, 

I'll,- Hidden Hand, in which the 

played opposite Mahlon Hamilton; 
the one land of acting winch is 
entirely unauited bo her keen, 
chiselled technique and dignil 
gesture. 

Cince then she has appeared in The 
^ Great White J rati, The Street 
of tin- Seven Stars, Twilight, The 
Band Box, The Harvest Moon, and 
The Conquest of Canaan with 
Thomas Meighan, a,nd several other 
piatures for Paramount. But it is 
Monsieur Boaucaire tha* gives 
Doris her chance for a character 
study of real skill and originality, 
and allows her peculiar beauty to 
have full scope for the first time on 
the screen. 

Left : She is a colour enthusiast in both 
iress and decoration. Circle : Doris in 
" If I Marry 
Again" 




everything that 
an artist can do 
in her short life, 
and that there 
is nothing that 
she has done that 
she has not done 
well. 

Originally. 
Doris Kenyon 
was going to be 
a doctor. She took 
her medical degree at 
Columbia University, 
but quickly turned from 
science to art, and began 
to make her name on the New York stage. Then the 
firm companies ran after her, and she divided her work 
between the silent and the speaking drama for a consider- 
able time, acting in the studios by day and behind the 
footlights by night. Neither the stage nor the screen 
could be persuaded to part with her altogether, so Doris, 
who likes hard work, has had to keep honours even, and 
is likely to do so for a considerable time. 

Dut Doris Kenyon is more than actress All the arts 
have sent presents to her christening. She sings like 
a bird, and hopes to appear in grand opera in the near 
future. She dances like a butterfly; an elfin, soulless 
creature. And she is a poet, with several volumes of 
published verse to her credit. Hep last little book was 
brought out in conj unction with some work of her father's 
who is also a poet ; a slim, charming volume, with that 
same curtain of mystery hanging over it, and the same 
resistless fascination of the unknown and the inexpres- 
sible, that has marked all her work, sung, danced, acted 
and in speech. 

Doris first swam into my vision in Get Rich Quick 
Wallingford, a Paramount picture of two or three years 
ago, with Sam Hardy and Norman Kerry in the leading 
parts. Her film appearances have not been too frequent 
— not nearly frequent enough for her English admirers, 
who cannot console themselves for her absences from the 




i o Valentino n tin prs 

I in- pari <<i Lady Mary wua . 
« luu. Valentino demanded Doris 
Kenyon and no othei in the i>.irt, 
declaring that she was tin only woman 
who could bring to h the right atn 
pherc •>! pehantm< at, the right 

ICy Ot' ;; Mid |,ri(|. 

Ih .uity. 

That Doris Kenyon did i>rm^ ill 
these .ind more is beyond all questions. 

Various players were criticised, when 
the movie was shown, for variousal 

comings. This one was too modern, 

that one too hard. But the chorus of 
praise for Doris Kenyon was wiih/nit a 
single discordant note. She was aristo- 
cratic, she was beautiful, she was allur- 
ing and coquettish by turns, she swayed 
her audience as easily as she swayed her 
film court, with a glance or a gesture. 
Her remarkable grace of gesture it was 
that influenced Valentino when he in- 
sisted she should be his " Lady Mary." 

And Valentino had his way. Doris 

and Lady Mary became one, the 

loveliest, hard^t, most fascinating 

heroine who ever graced an English 

screen. 

Now all the producers arc running 
after her, and she is scheduled to make 
as many pictures as there are days in 
the year — almost. 

And still the problem of her charm 
is unsolved — a riddle of which she 
only knows the answer. 

E. R. Thompson. 

Below : As " Lady Mary " with Rudolf It 
Valentino in "Monsieur Beaucaire." 




28 



Pictures and Pichurepver 



MARCH 1925 



Tennis or golf — 

Patsy Ruth Miller 

ready for either. 




Suggestive of the heath and the moor- 
land is Norma Shearer's tweed costume 
with plaid scarf and tiny hat to match. 



Norma Talmadge's sports coat is 
finished with collar and cuffs of finely- 
pleated white lawn. 



MARCH 1925 



Pictures and Pictvrevoer 







lr>* 







i 










/ 



GEORGE K. ARTHUR 

IV ho, with Josef Von Sternberg has scored a huge success with " The 

Salvation Hunters," the real-life film which has become the talk of 

California. " Kipps" may visit London this summer. 



30 



Pichures and Pichurepver 



MARCH 1925 




JOHN GILBERT 

Worked conscientiously and painstakingly as director and star for years 

until Elinor Glyn "discovered" him. He has since starred in "His 

Hour," and is note opposite Mae Murray in " The Merry Widow." 



MARCH 1925 



Pictures and P/c/\jrepuer 



31 




BETTY BLYTHE 

Looks like repeating her " Queen of Sheba " triumph in the new version 
of "She" now being made on the Continent. Betty is an International 

star these days. 



34 



Picture s and Pichure tyoer 



MARCH 192; 



TKe Flappers Favourite 



Although this face has maturity, 
it has not yet hardened into a 
mould. It is analytical to a 
great degree. Optimism and 
practicality are both present in large 
quantities. It is determined, good- 
natured, and somewhat unemotional. 
Although there are few original 
qualities in the character, this is one 
who is naturally tactful, good-natured, 
and sincere. 

This reading of the face of Mr. 
Lloyd Hughes has been brought 
largely through letters of request on 
the part of his many admirers. These 
appear to be mostly young girls, that 
part of the screen's audience which, 
more than any other, seems to fix the 
amount of a player's salary and 
demand his rise or fall. 

There is no doubt that Lloyd Hughes 
is popular, and it is worth while 
attempting to discover in his face 
those elements of character (which 
musit always supplement mere good 
looks), that have been responsible for 
his popularity. 

What I see is a brow of considerable 
analytical power, but there is not much 
indication of original or inquiring 
thought. Intellectually, at least, this 
is one who would be inclined to take 
his opinions unquestioningly from 
tradition rather than to examine his 
own reactions, and from them inter- 
pret his own beliefs and philosophy. 

Something of this may be due to the 
youth of the face, although, as I have 
said in my advance summary, this 
character is a mature one. But it has 
matured, at any rate, without the 
cynicism, insincerity, and ironical com- 
promises which one finds in the faces 
of most popular actors. It is best 
classified as an " unspoiled " face. 

t note optimism in the mouth, and prac- 
ticality in the brow. Plenty of 
force of character is present, though 
this is of a defensive rather than an 
aggressive variety. With this goes, 
too, a slight touch of obstinacy when 
the cherished traditional opinions of 
the individual are questioned. 

The face is free from any vulgarity 
or looseness, and is healthily clean in 
spirit. Although it cannot be called 
vain, it is intensely self-aware. So 
much is this so, that the character 
recognises its most valuable assets and 
its greatest limitations. It is said that 
no one really knows what he looks like. 
Lloyd Hughes has an unprejudiced 
self-knowledge, and probably comes 
nearer to knowing than most people. 

Although the disposition is an even 
one, there are indications of a quick 
temper when aroused. The nature is 
somewhat jealous in matters of affec- 
tion. Although there is no pugnacity 
present, in the sense of the person who 



De Sola, the character expert, finds the face of this 

young screen actor makes its special appeal to the 

less mature element amongst movie audiences- 




has a chip on his shoulder, this is an 
individual who is always prepared to 
defend his rights or protect his 
opinions with all the directness of a 
physical fighter. 

"""There is much honesty present, and 
plenty of courage. Nor is there 
any trace of self-consciousness in spite 
of the self-awareness I have men- 
tioned. His features bespeak the 
kind of character that may be termed 
the domestic type. He is naturally a 
lover of home and home life, as 
opposed to the restless, more Bohemian 
type of existence. 

He has a good disposition, as his 
evenly moulded lips inform me, and 
he has tact and kindness. But he 



would be inclined to be rather strict 
with those under his care, and some- 
what severe wherever he rules. Easy- 
going as he is, when ruffled to the 
point of temper, he could show harsh- 
ness mingled with a certain cleverness. 
He would know how to wound those 
who oppose him. 

So straightforward and direct arc 
his opinions, and so naturally honest 
and sincere are his traits, that it is 
safe to deduce he would have a firm 
dislike to anything subtle, complex, or 
highly original. He would not only 
fail to understand types of persons or 
situations that embodied these 
qualities, he would literally abhor 
them. 

This, as I read him. is Lloyd Hughes. 



MARCH 1925 



Pictures and P/ct\jreQuer 



35 




On the placid grey flat of the 
mighty ocean two objects only 
were visible. The first was the 
" Martha Lee " — or what was 
left of her. Over near the sunrise the 
last tattered shreds and spars of her 
floated grimly, a sad reminder for such 
eyes as saw of the grand ship that had 
proudly sailed the seas but a few short 
hours ago. The other forlorn object 
was a small lifeboat, the last to leave 
the " Martha Lee," and the only one 
now in sight. In it were four people ; 
the captain of the dead vessel, John 
Ferguson, his wife and child, young 
Colin, no more than a baby in arms, and 
a single seaman. As the seaman pulled 
off with rare futility from one empty 
area of the vast ocean to another 
area as empty, Captain John Ferguson 
sank down in the bows and drew his 
wife and child to his side. Eastward, 
the last sign of the " Martha Lee " had 
sunk from sight. 

" Where now, and for how long?" the 
captain murmured, trying to put cheer 
into his tones for the sake of his fellow- 
victims. 

They rowed on, until the arms of the 
men could row no more ; and presently 
the futility of their efforts was apparent 
to them. They might go on thus for 
years and die rowing, without ever 
sighting land or a sail. As wise to drift 
and wait and put their trust in Provi- 
dence. 

Leaden of heart they drifted for three 



days, and the last biscuit was eaten and 
the last drop of water in the keg come 
to, when, just as their prospect seemed 
most hopeless and death inevitable, over 
to the south loomed a sail. At once the 
captain sprang to his feet and began to 
wave the tattered remnants of 
his coat. Within half an hour they 
were aboard ship once more. 

But a ship such as none there had 
ever seen before, though most had 
heard of. It was none other than the 
notorious " Eagle," a pirate boat, under 
the command of as evil a monster as 
ever sailed the seven seas, one " Butch " 
Anderson. It was not lightly that the 
name of " Butch " had been bestowed 
upon him. 

Anderson had been below when the 
survivors from the " Martha Lee " 
were picked up; but now he came 
storming up to see them, to sneer with 
peculiar amusement at the men and the 
child and to raise his eyebrows in satis- 
faction at the helpless spectacle of Mrs. 
Ferguson. 

"Where's the boat?" he snarled. 

" Still alongside," he was informed. 

He pointed to Ferguson, the seaman 
and the boy. 

" Put 'em back where they came 
from," he commanded. " Leave the 
woman." 

With a horrifying scream Mrs. Fer- 
guson fell on her knees and threw her 
arms round her husband. 



"John! John!" she cried. "Save 
me. Get me away — don't leave me in 
the clutches of this fiend. John . . . ." 

" Never fear," responded Ferguson. 
" I'll save you, or he'll kill me first." 

A knife was his only weapon, the 
only weapon to be shared amongst the 
little band of survivors. He drew it 
now, stood before his sobbing wife and 
waited for " Butch " Anderson to come 
on. 

The crew of the " Eagle " formed a 
rough ring, which had the added dis- 
advantage of cutting off the captives 
from such meagre means of escape as 
the wide ocean offered. They formed a 
ring and began to cheer their leader 
and sneer at his victim. 

" Butch " was as burly a warrior as 
he was an unfair. He made the rules 
of the game as he went along, and 
always to suit himself. Ferguson 
fought not an opponent but a crew, and 
he was not aided in his effort by the 
pitiful moaning of his wife, kneeling at 
the feet of their solitary seaman, with 
her child in her arms. The captain 
glanced round to give her a word of 
encouragement; when again he faced 
his opponent it was to see that "Butch" 
now held two knives in his, hand. 

"All's fair in — love and war!" said 
the pirate banteringlv: and he fell into 
the fight with added fur/ and violence. 

What happened then happened* too 
swiftly to ever be clearly recollected by 



36 



Pictures and Pichuretyver 



MARCH 1925 




He jell into the fight z\.nth added violence and fury. 



the onlookers. The two men had been 
tcg-ether fighting furiously for some 
seconds, when suddenly Ferguson fell 
back, his elbow crooked across his eyes, 
moaning hoarsely, while blood dripped 
from him across the deck. The child 
screamed, Mrs. Ferguson emitted a wild 
shriek of terror and the seaman 
attempted a dash forward, to be 
dragged back the next moment by the 
crew of the " Eagle." 

"John!" cried Mrs. Ferguson. 

" T.he .hog !" bellowed Ferguson him- 
self, stumbling backward and reaching 
for the rail. "He — he has blinded me !" 

As he fell back the knife dropped 
from his grasp and fell at Mrs. Fergu- 
son's feet. Scarce knowing what she 
did nor why .she did it she took it up, 
unobserved, and hid it in the folds of 
her dress. 

"Blinded me!" the agonised captain 
groaned, showing his now sightless eyes 
to the crowd. " But he'll carry a mark 
on his own neck, I'm thinking, that will 
brand him for what he is to the end 
of his days." 

And indeed " Butch " Anderson's 
hands were feebly stroking his bleeding 
neck and violent curses were issuing 
from his lips. 

Suddenly he began to give orders. 

"Now!" he bellowed, "throw them 
over and put the woman below." 

Violently the captain, his infant son 
and the faithful seaman were cast into 
their feeble lifeboat and sent adrift. 
Soon they were a mere speck far across 
the waste of water; and then they could 
no longer be seen at all. " Butch " 
Anderson, his neck horribly bandaged, 
turned away with a grin and tottered 
below for a few words with his remain- 
ing victim, Mrs. Ferguson. 

But he was too late. 



CAST. 

CHARACTERS IN THE PROLOGUE 

Mary Ferguson - Anna Q. Nilsson 
Captain Ferguson William Jeffries 
Colin Ferguson - Dicky Brandon 
"Butch" Anderson- Jack Richardson 

CHARACTERS IN THE STORY: 

Molly Thatcher - Madge Bellamy 
Emma Thatcher 

Helen Jerome Eddy 
Colin Ferguson - Johnny Harron 
Captain Ferguson 

Spottiswoode Aitken 
"Butch" Anderson Jack Richardson 
Alice Masters- - - Gale Henry 

Narrated by permission from the W. & F. 
Film of the same name. 



THE STORY 
In the little fishing village of Bonavista 
all was happy excitement. There 
was a great trying on of bonnets and 
ribbons; a great scurrying of cheerful 
footsteps between the little frame cot- 
tages and the little village store ; a vast 
amount of staring at the moon-flooded 
sky and speculation on whether or not 
it was to remain a fine night. For the 
occasion was that of the Grand Celebra- 
tion to be held in the school-house in 
honour of the rescue of a burning 
freighter by the men of the local Coast 
Fire Patrol. Bonavista felt itself 
greatly honoured and desired to do 
honour to its heroes in turn ; for all the 
men of the Coast Fire Patrol were 
Bonavista men. 

As the villagers made their way down 
the little main street to the school- 
house, there was not one of them who 
did not stop to give a cheery greeting 
to old blind Captain Ferguson, also 
making his way there with the aid of 
his long ash stick. For it was Captain 
Ferguson's son Colin, captain of the 



Fire Patrol, who was the special hero 
of the hour. 

" A fine thing the young man did, 
Captain !" 

" It's proud you've every right to be 
of him, eh?" 

" And Molly !" 

It made the old man's heart quite 
light to hear these things. Though he 
had never seen any of these neighbours 
of his, yet he knew they all loved him, 
and he loved them in his turn. 

" That's where young Colin'll be now, 
I guess, what?" said one, passing the 
blind captain with a pat on the shoulder. 

" Gettin' ready to bring his Molly 
along." 

" And you've hit it right away," re- 
plied the old man with a chuckle. 

Y es > tnat * s where young Colin was. 
*■ The Thatcher sisters, Molly and 
Emma, were orphans, and lived in a 
little frame house on the very outskirts 
of the village; and it was on the porch 
of this cottage that young Colin Fergu- 
son, a fine, well set-up young man of 
twenty-five, was at this moment sitting, 
waiting for his fiancee to make her last 
preparations for the dance. 

Presently Colin turned at the sound 
of a footstep; but it was not Molly who 
entered the room behind him. It was 
Emma, her elder sister, a somewhat 
plain and unattractive-looking girl to 
Colin's thinking. To his surprise she 
held in her hand what appeared to be 
the incomplete uniform of a member of 
the Fire Patrol. Colin sprang to his 
feet and hurried into the room. 

•' Why, Emma," he said, " what can 
you have there?" 

" Your new uniform," Emma replied. 
" I am making it for you. All the 
village is honouring you. you know, 
Colin, in 'some way; this is my way. 
I don't care much for dancing." 

" But this is too good of you, Emma. 
It is far more than I ever expected, and 
you know you should not put yourself 
to all this trouble. But surely you are 
coming to the Celebration ?" 

" No," replied Emma. " I want *o 
finish this to-night, and there is^still a 
good deal needs to be done to it." 

She smiled rather wistfully, and when 
Colin and Molly had run off laughing to 
the dance, she dropped her sewing and 
stared at her reflection in the glass. No, 
she decided, she was not very much, to 
look at. Not very much. . . Unless . . . 

In an idle whim she began to re- 
arrange her hair. Then, still almost 
without thinking, she slipped off her 
dress and made^little rapid alterations 
to it here and there. Upstairs was a 
gold chain and locket. They had been 
her mother's and were hers now; but 
she never wore them. She fetched 
them and wore them now; found an 
antiquated pair of curling tongs and did 
things to her hair. She scarcely 
knew why she had done these things— 
and then, in a flash, she did know. 

Colin ! 

Yes, she loved him . . . And it was 
because she could not bear to witness 



MARCH 1925 



Picture s and Picture puer 



v 



her sister's happiness with the man they 
both loved that she was making mm 
this forlorn effort to — Gain him? Or — 
capture him ? 

IWIeantime, old Captain Ferguson and 
* a friend of the family, Alice 
Masters, had taken Colin aside in the 
schoolroom and were whispering a 
secret in his ear. 

" Later in the evening, Colin, the 
Committee's goin' for to present you 
with a silver medal for your bravery !" 

"What!" 

" Fact ! We thought you'd like to be 
warned in time." 

Colin crept away to think about this 
terror that was to come to him. And 
then in a flash he recalled the new uni- 
form that he had seen Emma making. 
It had seemed nearly complete. Sup- 
posing .he were to slip back and see and 
put it on and come back and have his 
fine silver medal pinned on his new 
uniform at its first wearing? That 
would please Molly ! 

He looked round. Nobody was ob- 
serving him in the throng. Without 
further hesitation he pushed back the 
door and slipped out. 

It was no more than a quarter of an 
hour's drive to the Thatcher house. He 
unhitched the buggy and slipped away 
in the darkness, but with a swift glance 
at the darkening sky, where fierce 
clouds were now scurrying across the 
moon. When he came to the cottage 
and tethered the pony to a stoop he felt 
the first drop of rain patter on the cab- 
bage leaves. He hurried indoors. 

Emma swung round from the mirror 
and met his astonished gaze calmly. 

" Emma !" he cried. 



" Colin I" 

" Wh) -" lu Mood aa one b 
fixed Emma I But hi 

Qised her. This WM a BOW kiiima — a 

yea .1 beautiful Emma ! Etc took .1 pace 

forward hesitantly. 
" You look — beautiful ! 1 — Hut . . ." 
" My beauty ia for you," .sin- aaid, 

looking him full in the eye*. 

" For me?" 

"Don't you see? Are you blind? 
Who is it stays behind while you join 
in the fun — who is it stays behind 
always — for you? Doing things for 
you . . . Colin! Don't you see? I 
love you ! I — 1 am yours ! And — 
you are mine !" 

Suddenly she flung her arms round 
his neck. " Kiss me, Colin," she 
whispered. 

" But . . ." He turned for relief to 
a great sound that at that moment rent 
the heavens. " What was that?" 

"Thunder — a storm," she said chok- 
ingly. "What of it? There has been 
a storm in my bosom these many weeks. 
Did you care for that? Kiss me, I say !" 

He kissed her. Before the fury of 
her passion he seemed to have lost his 
will. 

fVitside the storm fell on the little 
^-^ community with a fury almost per- 
sonal. Somewhere out in the frightful 
torment of the sea, a little red light shot 
up into the heavens, there to burst, and 
almost simultaneously a dull red glow 
shone whence it had come. The alarm ! 
A ship on fire ! Somebody, running up 
the main street, burst into the school- 
room and spread the news. At once 
the dancing ceased and the dancers 
raced out into the open, 




4 single blow from Weaver put him out of the fight for good. 



Yes, there it was' A quarter of a 

mile out and burttillf rapidly And the 

.. hell. If anything war* to be 

done, it BUM l>< dour soon arid swi!ll>. 

The nembera oi the Fire Patrol began 

t) angle each other out Mom the molj 

and to line up at the tide oi the road. 

Then a cry arose. 

" Where s Colin .'" 

Notw)(ly knew. A hnel search was 
made — there was in* time for more — 

then the boata put out without him. 

But Colin was not the laj^ard some- 
there thought. Emma too had heard the 
signal of distress and had sent him to 
his duty. But the fury of the gale had 
startled his pony, and when he reached 
the stoop beside the gate of the 
Thatcher cottage it was only to find 
to his consternation that both animal 
and buggy were missing. 

But though he ran as he had never 
run before, by the time he reached the 
harbour all was over. The survivors 
had been brought ashore and were 
being tended by the villagers. Over 
one, an elderly seaman who had been 
battered badly by the storm, Molly was 
bending, tending his injuries. And then 
from somewhere on the fringe of the 
crowd an ugly cry arose. 
" Coward !" 

Colin swung round, his cheeks flam- 
ing; and he was just about to account 
for his absence, when it dawned on him 
that his secret was someone else's as 
well, and could not be told without that 
someone's permission. He bit his lip 
and turned away and let the cry of 
coward go echoing after him. 

There was one there, at least, who 
had no thought for the petty local spites 
and ooinions; and this was the elderly 
seaman who, at Molly's hands, 
was being speedily brought back 
to comfort in a sheltered corner 
of the beach. For some time he 
had been staring at his nurse 
with undisguised admiration ; 
now he spoke. 

" My lordy, miss, but you're a 
beauty ! I seen some women I'll 
say, you're the peach of the 
bunch. Come now, give an old 
sailor man a kiss. 

" Just one, now. 'Tis plain you 
don't know the man you're 
speakin' to, missie. I never take 
' No ' for an answer." 

Suddenly old blind Captain 
Ferguson forced his way 
through the press and bent over 
the speaker. 

"Who are you?" he demanded. 
" What might your name be?" 

" Me?" said the sailor. " Why, 
Dan Weaver's my name." 
"Weaver?" "Aye." 

"Then I'm sorry, Dan 
Weaver. I thought for the 
moment you were someone else. 
I'm blind, you know, and have fo 
go by voices." 

" Who might you have been 
thinkin' I was?" Weaver asked. 
But the blind man shook his 
head. 



38 



Pictures and P/'c/\jrepoer 



MARCH 1925 



Molly waited a long time that night 
for Colin to come to her and explain 
his absence when the fire alarm was 
given ; but she waited in vain. He did 
not come. And at last, heavy at heart, 
she returned home, to meet the terrible 
truth from her sister's lips. 

" It's me he loves," said Emma 
remorselessly. " Loves me and says 
so, and has held me in his arms and 
kissed me. But he's no coward, let me 
tell you. It was his buggy broke loose 
in the storm, and he had to walk down 
to the harbour." 

'" Kissed you?" Molly cried in amaze- 
ment. 

" Aye, that he did !" 
" But — oh, I can't believe it !" 
" You'll believe it soon enough when 
you see him calling — on me !" 

Defore either of the girls could utter 

another word, the door was flung 

back and into the room came the old 

blind sailor, leading his son by the arm. 

"Where's Emma?" he asked, staring 
pitifully with his sightless eyes round 
the little room. 

" Here," said Emma. 

" My son has confessed all to me," 
said the old man brokenly. " I've 
brought him up here to .hear what I 
have to say to you. In his name I 
make you an offer of marriage. You 
shall be married as soon as the law 
allows in the church by the harbour. 
What do you say to that?" 

" I say yes," murmured Emma, with 
a side glance at Molly. 

On a wretched grey day some three 
weeks later, Colin Ferguson drove up 
to the Thatcher cottage to 
keep his word to Emma 
and say good-bye for ever 
to Molly. This latter cere- 
mony was brief, then 
Colin with Emma by his 
side, drove down to the 
village in silence, and the 
first word that was spoken 
was spoken by one who 
met them on the outskirts 
of the village. 

" Why, Colin, I thought 
you were on the cliffs 
waiting for your father?''' 

" I have not been across 
the cliffs for weeks," said 
Colin, pulling up. 

" That old Dan Weaver 
told your father so, at any 
rate, and the poor old mar 
has set nut there alone." 

Without another word. 
Colin swung the pony 
round and began a mad 
race across the cliffs that 
lived in the history of 
Bonavista for many a long- 
year. There was no road 
— there was not so much 
as a crude path ; but it 
seemed that Colin bore a 
charnu-d life that day. 
They caught sight of the 
old blind captain walking 
straight to the edge of 
the cliff. Colin gave a 



hoarse cry, flung the reins aside and 
sprang to the lean turf. Across this 
he ran like a hare, and just as the old 
man was about to step over the ledge 
that must have sent him to instant 
death, Colin's hand fell on his shoulder 
and dragged him back. 

It took but a minute to explain, but 
the old man's brows fell dark. 

" Where's Molly?" 

" At the cottage." 

Colin began to run. 

" Follow behind with Emma," he 
called over his shoulder. " I'll take 
the buggy." 

He sprang into the buggy and lashed 
up the horse, turning it with a deft 
movement inward. In seven minutes 
Colin was kicking open the door of the 
Thatcher cottage and plunging in and 
leaping at the throat of Dan Weaver. 
Molly, her hair streaming, a look of 
unspeakable horror in her eyes, was 
across the room, waiting- .... 

It was less like a fight than a private 
war. Anything did for weapons, and 
the furnishings of the cottage fared 
badly in the fray. Blood flowed freely 
from the faces of both men and their 
hoarse cries mingled with the terrified 
shrieks of the panic-stricken Molly. It 
was a hard fight, and up to a point a 
fair fight. But Colin was young and 
slim and inexperienced; Dan Weaver, 
cunning and big and broad, and he had 
fought in all the corners of the earth. 
There came a moment when Colin 
tottered weakly, staggering round the 
room seeing nothing. Then a swift blow, 
from Weaver put him out of the fight 

" Now for you," said Weaver. 



" Wait a moment," cried a voice, and 
Weaver turned to see old Captain Fer- 
guson filling the doorway. Uncertainly 
the blind man tottered into the room, 
with Emma by his side. He began to 
grope his way forward. 

"' Ha !" laughed Weaver, drawing a 
pistol. " I've one bullet left and I hate 
to waste it. Here ye are !" 

He fired, but Emma was too quick for 
him. Flinging herself in front of the 
defenceless blind man she received the 
bullet in her own breast and fell without 
a word. 

"VY/hen Colin recovered consciousness 
his dazed eyes met the most be- 
wildering sight they had ever beheld. 
At the captain's feet lay the dead body 
of Dan Weaver, choked to death; and 
over the room Emma lay dying in 
Molly's arms. 

" I knew him," the old blind captain 
was muttering, " by the scar. Dan 
Weaver ! Butch ' Anderson, it used 
to be." 

Emma lifted a finger and signalled to 
Colin to come to her side. 

"It was my fault," she whispered 
with her dying breath, " I alone am to 
blame. I'm not going to ask you to for- 
give him — there's nothing to forgive. 
I'm going to ask you to love him — as — 
as I loved him . . . ." 

She smiled into their faces and then 
her head dropped and her .hand lost its 
grasp. 

A moment later the old blind captain 
was crushing Molly and his son to his 
heart, trying to see, trying to under- 
stand 




My lordy, Miss, but you're a beauty, you're the peach of the bunch.* 



MARCH 1925 



Pictxjre s and Pi chare puer 



w 



The Art of JohiABcwvmoKe 



If you were to tell John Barrymore 
that his screemvork was pure 
genius and that he stood high in 
the first dozen film artists of tin- 
world, he wouW smile at you gravely 
and say that he was sorry, he didn't 
wish the kinema as badly as all that. 
And the curious part of it is that he 
would be perfectly serious in his seJf- 
depreciation. He thinks of Chaplin 
as a genius of the screen, he thinks of 
Torrence as a potential genius of the 
screen, but of himself as a genius of 
the screen he has never thought at all. 
The conscious effort, the conscious 
study, of John Barrymore has been 
directed, and always will be directed. 
to the art of the speaking stage. For 
that he has shaped and polished all his 
work, and into that have gone all his 
ambitions and ideals. For months he 
will ponder over the right setting for 
a play, the right inflection of voice 
for a certain line, the right casting of 
the smaller parts in his productions 

"Phe films that he makes are slipped in, 
as it were, between scenes. Accus- 
tomed to other stage actors who foot 
it now and again on the screen, and 
alternate between mediocrity and dis- 
mal failure, he does not appreciate the 
difference between the quality of their 
work and his own. But the truth is 
that to John Barrymore, to whom fUm 
success means very little more 
than that he has given others 
pleasure, has come the firm and lasting 
success that an artist alone can win. 

Barrymore simply cannot play a 
part badly. The reason is threefold. 
Firstly, he has the thinker's knack of 
getting right inside the skin of a 
character, analysing it and sympathis- 
ing with it, catching its very tricks of 
thought and gesture, walking with it 
and talking with it until h§ and the 
character become one. Secondly, the 
power to act is instinct within him. 

A 11 the Barrymores have acted, always : 
^"^ it is the Barrymore birthright. 
There seems to be no intermediary 
layer in the Barrymores between a 
thought and its outward expression, 
between the emotion to be represented 
and the movement that will represent 
it the most fitly. And thirdly, John 
Barrymore is a scholar, a reader, and 
a painter, who has made it his interest 
to master the individual technique of 
every art he touches. He has studied 
the best use to which brush and colour 
can be put in painting. He knows 
what pen and ink can most completely 
write. 

He has learnt what movement, 
what lack of movement, is best suited 
to the representation of thought before 



the camera, what on the screen should 
be stressed, what on the screen should 
be eliminated, and where comes the 
very fine dividing line between the 
right acting of the theatre and the 
right acting of the silent stage. His 
work is the work of a scholar and a 
student, missing pedantry by the 
breadth and firm grip of his actor's 
inheritance, and missing coldness by 
his human understanding. 

("Vdinary type limits do 
not control Barry- 
more. He has no type. 
He can cut as clear a 
cameo picture of youth 
as of age; Beau Brum- 
mel in his heyday and 
Beau Brummel forlorn 
and forgotten are 
equally alive. He knows 
the long, coltish move- 
ments of early manhood; 
do you remember him, 
all legs and wrists and Xj 
puzzled youth, in the 
college days of Mori- 
arty? He knows the 
droop and pause of the 
very old man; I can see 
him now, curved in his 
chair, with one faded, 
expressive hand illustra- 
ting the story of The 
Lotus Eater. He can 
make that cameraman's 
dream of a profile into 
a nightmare, and has 
caught horror for all 
time in Dr. Jekyll and 
Mr. Hyde. A comedian 
too, with a quick wit and 
the lightest, deftest of 
touches. 

[ ike Nazimova, John 
Barrymore is indepen- 
dent of his directors; 
they do not colour his 
wt 'k nor change his 
quality by one hairs- 
breadth. 

Weak stories, weak 
production, weak sup- 
port — and he has had 
his share of all these — 
leave him still the 
Barrymore. He works 
according to his own 
ideas, on his own plan. 
But he is not, like 
Nazimova, an artist of 
temperament. His acting is never 
uneven, for it springs from a cool brain, 
and is carried out with a steady hand. 
He stands alone, Barrymore. in the 
cinema and yet not of it; a thought- 
ful, courteous, rather delicate figure; a 



Tbe Author of this series has chosen 
his subjects with great deliberation, 
taking only those stars whose work 
seems to him a permanent and essen- 
tial contribution to the art of the 
screen. 

John Barrytnoft 
Beau 

lirummcl " 




manner easy and unostentatious ; a quiet 
humour whose laughter seems always 
to be turned a little inwards ; and the 
most polished acting, the most 
scholarly, considered art, of any 
player on the screen. E. R. T. 



40 



Pictures and P/chjre$oe/' 



MARCH 1925 



5eeir\_ 

[ )nuhlp 



Multiplication is not vexation in the Movies 
it's merely clever earner a work. 



In the early days of the film industry 
we watched in open-mouthed 
wonderment the astonishing spec- 
tacle of a well-known star kissing 
herself good-night being thrown upon 
the screen for the first time. 

Nowadays fans are less prone to gape 
and more disposed to take these camera 
miracles as a matter of course. 
• " Pooh ! I know how that's done," 
they say, with an airy wave of the 
hand. " Double exposure !" And, satis- 
field that they know everything there is 
to know, leave it at that. 

But double exposure is an art, just as 
much as any other 
of the hundred 
and one delicate 
little tricks of the 
camera that go to 
the making of a 
really good film. 
Let me quote an 
instance of how 
such things are 
managed. 

A man taking a, 
"^^ dual role in a 
film is called upon 
to .shake hands with 
himself, in the role 
of the other man. 
The scene is taken 
with half the 
camera lens 
obscured by a 
shutter. He then 
walks over to a certain point and goes 
through the pantomime of shaking- 
hands with someone who isn't there. 
The shutter is slipped back over the 
already exposed half of the film and 



the scene is re- 
peated from the 
opposite side, with 
the star in the cos- 
tume and make-up 
of the man with, 
whom he is sup- 
posed to shake 
hands. Not so sim- 
ple, you see, after 
all, for great care 
has to be taken to 
fit the two scenes 
together properly. 
This hand-shak- 





Above : William S. Hart gives to William 

S. Hart a piece of his mind. Below: 

Twice Norman Kerry and Ward Crane 

make four in " Clinging Fingers." 




Two Mary Philbins are not one too many 
for us. 

ing scene is, of course, one of the more 
usual instances. Things become far 
more complicated when a star has to 
kiss or embrace herself on the screen. 
Some of the cleverest double exposure 
in screen .history occurs in Little Lord 
Fauntleroy. In this picture Mary Pick- 
ford took the title role, and also the 
part of " Dearest," " Little Lord 
Fauntleroy's " mother. The script 
called for the two to play in many 
scenes together, and the tender way in 
which Mary managed to " mother " her- 
self was a work of art not soon to be 
forgotten. 

The reasons for one star playing two 
roles are various. Sometimes, of 
course, it is because two characters 
in the film are supposed to be exactly 
alike, and, as not many stars are able to 
find their exact doubles in real life, they 
are forced to take both roles themselves. 
But more often than not a film star will 
take a dual role simply to impress her 
own versatility upon the public. 

\ /ersatility, in fact, may be said to be 
* the present day craze of the average 
film star. The girl who can play, in 
one film, sweet seventeen and her own 
grandmother, feels that she .has 
achieved something; worth while at last. 
And if she can only get a chance to 
portray a girl of the underworld and a 
society debutant, both at the same time, 
she is in the seventh heaven of delight. 
One of these days we shall have the 
eternal triangle with one man as two 
sides of it. I look forward to the 
noveltv of seeing the outraged husband 



MARCH 1925 



Picture s an d Pichure poer 



41 



( /<.f/l«M 

end ikt 

man 

Wollaet 
Be try 

uli tun! 

without 

makt- 



ikiii is given thai the mm has raddenly 
disappeared Into thin 

< >iir oi the cleverest illusion* thai 
has evet been perpetrated on < ) i <- 

screen wai the scene m Th* NibtUtng* 
in which stores of little dwarf men, 
holding a k' ii*m 

their deformed shoulders. WCTt slowly 




ordering himself, in the role of the 
lover (with perhaps the addition of a 
false moustache for camouflage), out 
of the house, or using a horsewhip 
about his own shoulders while his 
trembling wife begs him to spare his 
own life. 

All this, of course, means more work 
for the camera man, and it is surpris- 
ing in what hundreds of ways films are 
dependent upon his art. 

Ccenes in which ghosts appear, for in- 
k stance, have to be specially treated. 
This is usually done by making two 
exposures of any scene in which 
the ghost takes part — one of the action 
of the human characters and a corres- 
ponding one of the ghost's part in the 
proceedings. Every amateur photo- 
grapher has taken " ghost " pictures at 
some time or other by omitting to 
change the film or plate before making 
a second exposure, and movie ghosts 
are produced in the same fashicn 
except that their appearance is 
intentional. 

It is the fashion nowadays to film 
death bed scenes in such a way that 
the spirit of the dying man or woman 
is seen to emerge from the body, and 
this is done in the manner cited above. 
Beau Brummel has a striking example 
of this, in the death scene of the hero, 
when his spirit is seen to rise and meet 
that of " Lady Marjorie." 

Then there are other camera illusions 
such as the one created by Douglas 
Fairbanks in The Thief of Bagdad, 
when he dons the invisible cloak and 
carries off the princess, and in the same 
film a flying horse and carpet are used. 
Neither of them are in reality anything 
more marvellous than an ordinary- 
horse and an ordinary carpet, but seen 
through the eye of the camera thev 
take on magic properties that dazzh 
and mystify the uninitiated. 

Disappearing tricks on the screen 
are, perhaps, some of the most easily 



turned 
to stone 
(jefore the eyes 
of the audience. 
More than one 
regular pictureiroer, 
hardened by long usage 
:o these screen miracles. 
Bfave a little gasp of aston- 
ishment at the sight. 

Whatever progress mod- 
ern films have made may 
very largely be put down 
to the man behind the 
camera. E. E. Barrett. 



Above: Milton Sills in "The Sea 
Hawk " and in ordinary attire. 
Right : Irving Cummings directing 
himself in "As Man Desires." 



managed. If the 
scenario calls for 
someone or some- 
thing to vanish at 
a certain point in 
the film, the camera 
man merely 
ceases to turn 
the crank, until 
the person in 
question has 
walked out of 
the picture. The 
film it then con- 
tinued from the 
point where he 
left off turning, 
and the impres- 




42 



Picture s and Picture puer 



MARCH 1925 





omewkeJzSenous 

Here is a man who has both brains and balance, a man who 
thinks, and takes his work seriously, believing in it, and his 
ability to do it. 



Ronald Colman is a star, an actor 
of polished style and colourful person- 
ality, competent, individual, with a gift 
of subtle expression that bespeaks a 
thorough understanding of the 
camera's needs. 

I take off my hat, too, to Lillian 
Gish, whose discerning eye first saw 
the screen possibilities of Ronald. She 
saw him on the New York stage in 
" La Tendresse," and it was owing to 
her persistence that he accepted, in 



Ronald Colman. 



S 



ome time ago it / 
fell to my lot 
•to seek out 
Samuel Gold- 



wyn, who was on a 
flying visit to Lon- 
don. We were talk- 
ing about 'the screen, 
about films, about 
aotors — that is to 
say Mr. Goldwyn 
was talking. He's 
rather like that, full 
of enthusiasm, bubr 
bling over with 
ideas, and pouring 
them out like a 
verbal' Catherine 
wheel. 

"Here in England," said he, " you 
have a perfect gold mine of talent, only 
for some reason or other you don't 
exploit it. Why look at our American 
screen stars. All the best of them are 
British ! And look at my latest dis- 
covery — Ronald Colman. Another 
Britisher ! That young man's got a 
future. Anyway, I'm gambling on my 
choice of a star to the extent of giving 
him a five-year contract." 

I thought silence would be more 
polite than words. Up till then I had 
rather admired Mr. Goldiwyn's business 
acumen. The only knowledge I had 
of Ronald Colman was the sight of 
him in The White Sister, and, as Mr. 
Goldwyn might have phrased it, I had 
not been impressed a whole heap ! 

I came away from that interview 
rather sorry for Mr. Goldwyn. 

I am writing this after seeing A 
Thief in Paradise. I take off my hat 
to Mr. Goldwyn. He has found an- 
other gold mine, full of neglected 
British talent, and is busy exploiting it. 




an intensity that is captivating for the 
moment and lingers in the memory 
long afterwards. This haunting 
quality in his work, the overtones of 
individuality, seem strongly to pro- 
phesy his future." 

Unstinted praise indeed, from a land 
where thoroughly competent actors 
are three-a-penny, and stars twinkle 
unceasingly in the Movie Milky Way ! 
Like so many of the "Englishmen 
abroad," Ronald Colman learned his 
business on the English stage. He 
made his debut in London just before 
the war. He enlisted in 1914, 
served two years, and then, seriously 
wounded, was discharged. He returned 
to the stage for several years until, in 
1920, he decided to seek his fortune 
in America. 

What happened there I have 
already told. And once more I 
take off my hat to Lillian Gish 
and Samuel Goldwyn. 

I have before me as I write, 
a picture of Ronald. I cannot 
tell you the colour of his eyes, 
the exact shade of his hair, the 
name of his tailor, or where he 

Circle : With Constance TaU 
madge in " Heart Trouble." Be- 
low : With Blanche Sweet in 
" The Pocket Venus." 



The White Sister, the role that was 
desitined to start him on a meteoric 
rise to fame. 

There quickly followed a role in 
Romola, where he played with both 
Lillian and Dorothy; then a cable 
from Samuel Goldwyn brought him to 
the coast to play opposite Constance 
Talmadge in Heart Trouble, and then 
the Great Lucky Bag of Filmdom 
handed out to him the firs-t prize — a 
five-year contract with First National, 
and the coveted role of Romeo. 

" ""The quality of Mr. Colman's acting,'" 
says an American critic, " like 
that of the group of the old guard 
headed by Conway Tearle, is of a 
superior order. Like those players he 
invests his different roles with taste 
and intelligence. His chief appeal 
rests in his gentlemanly bearing, his 
aloofness, and that inner spark of 
spirit conventionally termed fire, 
fire is a steady white flame which 
burns slowly, evenly, persistently, with 



0t H 

His JJd 

lich ^v 

urifU ™ 




MARCH 1925 



Pictures and Pict\jre$uer 



4i 



portrait. 
has both 



It is the lace hi .1 111. in win) 

braini and balance; .1 man 

who thinks, who takes his 
work scrimusly, who believes 
m his work .uul in his ability 
tO <lo it. 

I see a mouth that s|n.iks 
of not a little strength of 

character 1 ! and eyes timt 

tell an cloiitienl tale of 
humour. 1 see a typical, 
healthy - bodied a n d 
healthy-minded En^lish- 
man. Not a trace, thank 
heaven, of the matinee 
idol! 




Ronald making Marie Prevost see the error of her ivays in " Tarnish. 



buys his ties. I confess to a complete 
and abysmal ignorance on such 
matters. I even whisper that I have 
a complete lack of interest in them. 

There, are, however, a number of 
things I can tell you as I look at his 



I would hazard a guess that while 
Ronald Colman is modest he is not in 
the least self-conscious. Frankness 
and sincerity are written all over him. 
I can imagine no severer critic of 
Ronald Colman than Ronald Colman. 



It is difficult to lit this yoiiii^ mail 
into any paiuu ular type. ll> luinhiucfc 
the strength of Conway Tearlc with a 
Mod detJ ot the tile of Jolui (olbcrt. 

ii' baa all tiu- comp ete n c e ol a Lew 

, 01 a Lewis Stone. He liat, not 
a little of the rial louiaiitic atmos]therc 
t»t Ranofl Nnvarro. 

I am DO weal believer in the K<- - niuB 
that is l>orn with a silver spoon in its 
mouth. 1 have a shrewd suspicion 
the most geniUl owes a big debt to 
hard work. When I hear Ronald 
Colman talking I am not surprised that 
he has become what American crities 
are pleased to call " A screen 
sensation." 

" Every move the actor makes," he 
says, "must be a studied one, carefully 
thought out for it effectiveness. If 
the actor isn't very careful he will be- 
come an habitual poseur, every gesture 
studied for its effeot. His studio 
habits are likely to fasten themselves 
on him permanently, his 'before the 
camera manner' grow on him." 

Such sound commonsense shows 
how fully Ronald has grasped the 
essence of bis art, and how clearly, 
too, he has realised that only a thin 
line separates success from stereotyped 
failure. 

Show me an actor's smile and I will 
tell you the stuff of which his art is 
made. So many actors smile because 
they wish to look attractive ! Not so 
Ronald — he smiles because he has a 
reason for smiling. He is one of the 
few artists who can smile — and still 
remain subtle. 

I have taken off my hat to Mr. 
Goldwyn. Twice have I taken off my 
hat to Lillian Gish. " The last time," 
says the tag, " pays for all." 

Wherefore I take off my hat to 
Ronald Colman. E. R. Thompson. 




With Lilltan Gish \n " 1 he While Sister. 



44 



Pictures and Pichjrepver 



MARCH 1925 



Filrr\Sters^t HoJS 

AILEEN PRINGLE 



The home of Aileen Pringle stands on a 
hillside, and no two of the rooms, with 
the exception of the hall and the break- 
fast room are on the same level. Like 
most of the houses in sunny California, it 
is composed of stucco and 
tiles coloured deep terra- 
cotta and its architecture is 
Italian in character. 




Above: Aileen Pringle stand- 
ing on one of the several 
balconies. From these an un- 
interrupted view of Holly- 
wood can be obtained owing 
to the height of the hill on 
which the house is built. 



The colour scheme of this bed 
room is grey and mauve. Soft 
grey walls show up the dark- 
framed pictures, whilst mauve 
curtains, lampshades, cushions, 
etc., give a Springlike sugges- 
tion. 



Right: The film star attends to 
her intimate correspondence 
herself, usually at the small 
desk that stands in one corner 
of her bedroom. Here she can 
be sure of uninterrupted 
privacy. 




MARCH 1925 



Pict\jrQ s an d Picture over 









IV 



Bft:«v*\ 



TS. 






Below: Aileen is a skilled 
musician. She spends many hours 
at her piano which stands near 
one window of the living room. 



-*tS 






Left Thiee of the balconies 
are shown in this photograph, 
which also gives a glimpse of 
the charming country, with its 
low-lying hills and wealth of 
greenery. The lowest of the 
three balconies is also the 
largest, and informal parties 
are often held there .When its 
wicker chairs are moved away, 
there is ample space for a few 
couples to dance. 



-n-.=*»»k t 



rv 






Above: The living-room is Oriental in its 
drapery. Curtains, rugs and covers being 
of deep yet soft colourings. It contains 
many valuable Oriental ornaments. 



Right: The arched doorway which 
gives entrance to the breakfast 
room. ' The hall, which is nearest 
to the camera, has a tiled fireplace 
and is furnished like a room. The 
breakfast room, seen tnrougb the 
arch, has an Eastern exposure, and 
of course, a balcony. 



Ill) 



■\ 



!l f 



mZi\ 



46 



Picture s and Pichure poer 



Wker\ they 
PwoKt L&u&h 

A 



MARCH 1925 



Mack 
nelt. 



MACK SENNETT 

There are some things that will raise a 
smile and some that will not. 

There are some things that the 
public simply will not laugh at. 
Nobody knows just why, but it 
is just a fact that they will not. 

One of these is a Shetland pony. 
For some reason they resent having a 
" Shelty " made fun of. We have 
tried them in all kinds of comedies, 
but it is useless. They just will not 
laugh. They will laugh at any other 
kind of horse in a comedy situation; 
they begin to snicker whenever they 
see a burro come on the screen. But 
not a pony. 

They will not take a joke about a 
preacher unless he has little side 
whiskers. An ordinary preacher with 
an ordinary smooth face is very likely 
to inspire resentment; the audience 
•takes it as a slam at religion. But 
when the preacher has little side 
whiskers and a flat top to his hat, it 
seems to be accepted by the audiences 
that you don't mean any reflections. 

By the same token, in the old pie- 
throwing days, I always noticed that 
they didn'it like to see a girl in a white 
lawn dress hit with pies. In fact they 
didn't like to see young girls pie- 
strewn anyhow. They didn't mind 
more elderly women: But they shrank 
from this indignity to young girls. 
Which would seem that something is 
the matter with our bump of reverence. 

Perhaps the oddest thing of all is 
that they resent any kind of deformity 
on the screen except crossed eyes. 
They would hate you if you made fun 
of a man with one arm ; they would 
walk out of the theatre if you tried to 
poke fun at a man with one leg lost ; 
but crossed eyes seem to be considered 
fair game. I can't imagine why 
Certainly Ben Turpin's eyes would be 
considered a crowning misfortune in 
your own head. 

There are two characters on the 
screen that the audience feci vicious 
toward. These are the police- 
men and the man in the top hat. 
For some extraordinary reason, they 
feel abused if you let a man in a top 
hat escape unscathed. 

They want something done to him. 
I imagine the reason for this is some- 
thing deeper than the mere fact that 
a top hat looks funny falling off. After 
all, the joke of life is the fall of 
dignity. And the top hat is the final 
symbol of dignity. 




iroitT ,'/ Mack Sennelt's fun makers complete with smiles. 



MARCH 1925 



Picture s and Pichure poer 



47 




ardirgPod La Rocque 






He is one of the very youngest ot our leading men, 

despite his long experience and sureness of touch. 

Rod is twenty-seven, with twenty years of acting 

to his credit. 



" Nothing,"' 1 lied cheerfully. 1 

happened to know that Monte WEI 
busy working tor Warner Brothers at 
the moment, only a few thousand miles 
away, but 1 wouldn't have said so for 




Six foot three of lean strength 
aptly describes Rod La Rocque. 

I^he news came to me that 
Rudolph Valentino had 
been seen coming out of, 
or going into — the 
stories differed — the Savoy- 
Hotel, and, as I happened to 
know that he was in New York 
at the time, 1 set off post haste to 
Savoy to interview his ghost. A con- 
versation with a ghost, thought I, 
would be an interesting new feature 
for PICTUREGOER. I have never 
written nor read an interview with 
the phantom of a film star. And, any- 
way, Valentino's ghost promised to 
have attractions quite of its own. . . 

But I had a very shrewd suspicion 
of what I should find when I got to 
the Savoy and mentioned the matter 
to the lordly gentleman behind the 
enquiry desk. And I was quite sure 
of it when I turned into the bay of 
Savoy Court and met Another Sleuth 
with a pencil and a notebook in his 
hand, and the expression that we all 
put on our faces when we are about 
to conduct a serious interview. 

" I suppose," said he, " that you are 
lookir.g for Monte Blue?" 

" Not to my knowledge," said I. 

" Well," he told me graciously, " the 
man's here. He's been seen. A 
report came to our office not long ago 
that Monte Blue had been recognised 
coming out of the Savoy Hotel." 

" Or going in," I murmured. 

"What's that?" asked the other 
Sleuth, looking at me suspiciously. 



" Yes, madam," he said promptly, 
and vanished with it. 

And so it happened that the inter- 
view with Rudy's j^host had to be can- 
celled, and the interview with Montc's 
phantom postponed, and I found my- 
self face to face with a very real live 
man of six foot three inches of lean 
strength. 

" You want to sec me?" asked 

Rod, in his pleasant, clear voice. 

" I've always wanted to see 

you," I told him, with perfect 

truth. 

" You're sure," he pur- 
sued, with a twinkle in his 
eye, " that you are not mis- 
taking me for someone 
else?" 

" Oh, no," I said in 
shocked tones, as if I had 
never heard of the ghosts 
of Valentino and Monte 
Blue. 

" I've been recognised a 

He doesn't believe in fersonal 
appearances. 



The Rocquc-cy road to typewriting. 

worlds. The Other Sleuth could find 
that out for himself. It was his job. 
But I generously told him that he 
wxauld find himself with two interviews 
on hand, apparently, for Valentino's 
ghost had also been seen in the neigh- 
bourhood of the Strand. 

"The Other Sleuth pricked up his ears 
and looked happy. He saw fat 
cheques beckoning to him. He ad- 
vanced majestically to the enquiry 
desk, and I heard him explaining in 
tones even more lordly than those of 
the lordly gentleman behind it that it 
was no good denying that Mr. Blue 
and Mr. Valentino were staying in the 
hotel; they had been seen and 
identified. 

" But neither of these gentlemen — " 
I heard the answer come, and then I 
caught sight of a small page boy and 
beckoned to him. 

" Please take up my card to Mr. La 
Rocque," I said. 




48 



Pictures and Pic l\i reaver 



MARCH 1925 





His newest photo. 

lot," he added, " since I came over 
here, but I'm never just sure if it's me 
or one of the other boys they think 
they recognise." 

I could not tell him the bitter truth. 
I just couldn't do it. He was so 
friendly and gracious and anxious to 
please. And I could see that he didn't 
really think he was in the least like 
Valentino or Monte Blue, and really, 
looking at him closely, neither did I. 

Rod's own personality is too strong 
for resemblances. It records itself 
photographically on your brain before 
you have been speaking to him for 
half a minute. He is very much and 
entirely himself, in every movement, 
gesture and word. 



And the photograph's like 
this — a vast young giant, 
straight and broad of 
shoulder, the carriage of a 
sportsman and the 
movement of an actor. 
Black hair, brown eyes. 
A close, clean chin. A 
mobile face, reflecting 
every phase of his 
thought; a face that 
talks with every feature 
Fine hands, continually 
moving to punctuate his 
words, with a heavy 
signet ring carrying his 
family crest. A per- 
fect, almost too perfect., 
correctness in dress ; 
you feel that never, 
under any circum- 



Left: 

Rod in 

his 

Hollywood 

garden. 

Below : 

He oivns 

dozens of 

suits and 

umpteen 

pairs of 

trousers 

yet he 

elects to 

wear 

plus fours ! 



stances, would Rod be seen in anything 
but sartorial excellence. No old 
smoking jackets, old tweeds, for Rod, 
no ready-made suits or made-up ties; 
all his clothes are specially made in 
London, and carry the exclusive a A 
irreproachable cachet of Saville Row. 
Whenever you meet Rod, you might be 
sure of finding him just right, in dress, 
in manner, in bearing. He would be 
a credit to you ; he would be, wherever 
you went, a success. Happy Rod ! 

'"That strange likeness to Monte Blue, 
which haunts his every appearance 
on the screen, seems to die away in 
actual contact with, the living man. He 
has Monte's build, but none of his 
curiously appealing, curiously gentle, 
droop of the shoulders, as if he were 
too big for the world, and wanted to 
apologise for it. He has Monte's 
shape of face and feature, but the 
whole expression is sharper, more 
subtle, more sparkling. Rod's face is 
the cleverer, Monte's the stronger. 
You love Monte, you admire Rod. 

Valentino, whose ghost is also apt 
to haunt Rod La Rocque's footsteps, 
can really claim no resemblance other 
than a hint of profile and a half-smile 
in common. Valentino's Latinity 
shines out in every turn of his face 
and trick of his eyes, while Rod, for 
all his French-Canadian ancestry, is 
emphatically American. Before he 
opens his lips you know what his in- 
tonation will be. . . And it is, clear 
and pleasant, but unmistakeable. 

I called this impression a photo- 
graph; it reads like a time exposure 
But in reality these details came to me 
in the flash of a second, while I settled 



Below : 



With Lillian Gish in 
Golden Bed " 




MARCH 1925 



Pictures and Pic/\jre$oer 



back into the depths of the chair he 
drew up for me and listened to his 
first few words. He wm talking 
about the people who had recognised 
him on the streets and in the vestibule 
of the theatres, and of the strangers 
who had hailed him as he came out 
from the first night of Peter Pun. 1 
gathered that he thought highly of the 
British fan, who was well-behaved and 
had learnt nothing of mobbing from 
her American cousins. 

" As a matter of fact," he went on, "I 

^^ don't believe in making personal 
appearances, and have a clause in my 
contracts precluding them altogether. 
It seems to me that an actor's work is 
essentially abstract, and that to graft 
on to this abstract a concrete person- 
ality is wrong in every way and can 
serve no good purpose whatsoever." 

" Quite," I said, wishing fervently 
that some of his colleagues would 
come to the same sapient conclusion. 
Oh, a wise young man, this Rod ! 

" I feel just the same," he went on, 
"about visitors in the studio. If any 
strangers or rubbernecks come on to 
the set when I am working, I turn 
round and walk right off. That sort 
of thing gets my goat." 

" You mean the substance and the 
shadow, and all that sort of thing," I 
murmured, agreeably. 

" Quite," said Rod, in his turn. 

Right : Rod and this London Bobby are 
note fast friends. Below : The camera 
shows up spots on one's raiment, so the 
good old bottle of cleansing fluid comes 
to the rescue. 





If he understood 
what I meant, he 
was cleverer than I 
am. But of course 
I don't doubt that 
he is cleverer, much 
cleverer. Rod is a 
good talker and a 
serious talker; he 
impresses you from 
the start as being 
well-read and well up 
in all subjects that 
ought to interest intel- 
ligent people, from 
cross-word puzzles to 
the League of Nations. 



As in dress, so he is in talk — a oredit 
to himself and to his companion. 

He talked about Michael Arlen. 

This should be printed in red letters 
— I must speak to the editor about it. 
For it is a strange and wonderful 
truth. It is not the custom for hand- 
some leading men from America to 
talk about Michael Arlen. But Rod 
talked, and he talked brilliantly. 

I asked him how he found time for 
reading, when his contracts stretched 
in a chain of continuous years, and his 
boyhood had been spent in greenrooms 
and stages since his seventh birthday. 
He told me that, whatever else had to 
go, his reading would be squeezed in 
somewhere. " It gives one breadth," 
he said. 

A nd then I remembered a story that 
had once come to me, that there was 
no subject in the world on which Rod 
La Rocque could not converse, and 
converse with real ability and discrimi- 
nation. But as I can't do that, we 
talked about A Woman of Paris in- 
stead,' and sang a little duet of praise 
to the genius who made it. 

" The greatest picture ever pro- 
duced," said Rod. 

" Greater," I said slyly, hoping to 
lead him on to the subject of his own 
work, "than The Ten Command- 
ments!" 

But he wouldn't be drawn. He was 
loyal to De Mille. He was ready to 
talk a whole lot about The Ten Com- 
mandments, but not to take its 
measure. He loved his work in it, 
loved its subtleties and humours, 
loved working with Leatrice Joy, who, 
along with Lillian Rich, he classes as 
the most sympathetic of his " oppo- 
sites." 

" Letty," he said, " is just fine to 
work with, so easy and enthusiastic. 
As for Lillian, she's the most gorgeous 
and charming of all the girls I have 



50 



Picture s and Pichjre $uer 



MARCH 1925 



work and grounding. Bryant Wash- 
burn, the lead, fell sick at the last 
moment, and as I was rather like him 
then I begged for the part, and 
promised myself and the directors that 
I would make good in it." 

" And so," I said, as he stopped, 
" you all lived happily ever after." 

" Something like that," said Rod, 
with a smile. 

I warned him that all good stories 
ought to end with a wedding, and 
that— 

" If you've been hearing all that 
nonsense about me and the possibility 
of my getting married," he broke in 
hastily, " cut it right out. There's 
nothing in it, nothing at all." 

He assured me that his mother and 




co-starred 
career." 

A brave statement, Rod, for a 
man who has played the partner 
to Corinne Griffith, Madge Ken- 
nedy, Mabel Normand, Mar- 
guerite Clark, Constance Binney, 
Mae Marsh, Mae Murray, and 
Pola Negri, to name just a few. 
But Rod is full of enthusiasms; 
they are part of his personality just 
as much as the grace and the 
graciousness and the intelligent con- 
versation. It is just in these bubbling 
enthusiasms, these unqualified loyalties, 
that Rod shows his youth. He is one 
of the very youngest of our leading 
men, for all his experience and surety 
of touch. Twenty seven. Too young 
to be accepted for the army at the 
beginning of the war. Too young to 
be given leading parts, in spite of his 
talent, for many a year — or so the 
directors said ! Too young for 
electrics, until in The Ten Command- 
ments his talent broke out in electrics 
of its own. Twenty seven, and 
twenty of those years spent in the 
actor's craft. 

" A long training," I said, ending 
my thought sequence out loud. 

" Long, but invaluable. Those 
times on the stage taught me my foot- 
work for the screen. I was really an 
actor made before I ever stood up to 
a oamera, in the old Essanay days, 
long before my first real chance came. 
That was luck, but I was able to take 
the chance only through real hard 



sister made him the best home in 
the world, and that nothing would 
make him marry while they lived. 
His mother and sister, are two more of 
Rod's enthusiasms. 

" So you see," he ended, " you won't 
be ringing the wedding bells for Rod 
in your PICTUREGOER for quite a 
time yet." 

T thought to myself that he would look 
nice at a wedding. Rod in wed- 
ding clothes and a tall hat — Rod in 
evening dress and an opera hat clasped 
to his shirt front — Rod in riding kit 
on a polo pony — Rod in very little but 
his own strength in the boxing ring — 
they all fit. Always just right. Always 
a success. Always a credit, to his 
partner, or his opponent, or his bride. 

And I was just mentally arranging 
the details of Rod's wedding, and 
wondering whether Cecil De Mille 
would lend him the " Defiance " for his 
honeymoon trip, when the door opened 
and the Other Sleuth appeared on the 
threshold. He scowled at me. He 
smiled at Rod. 

"Mr. La Rocque?" he asked. 

" That is my name," said Rod, un- 
coiling his long form from the depths 
of an armchair. " But I answer as 
well to the names of Valentino and 
Blue." 

" You are very like them both," said 
the Other Sleuth, tactlessly. 

" Delighted," said Rod, with a sar- 
casm peculiarly and emphatically his 
own. 

And as I went out I suddenly 
realised how he must hate them — 
Valentino and Blue. But say so, 
never. For his loyalties, like every- 
thing else about Rod, are just right. 
Edyth Elland. 
Left: With his mother and sister. 
Below : Rod on the Thames Embank- 
ment, London. 



v 




MARCH 1925 



Pictures and Pict\jre$oer 



51 



/< 



BusfrxeKs Holida 





Mary Fit kford and Douglas Fairbanks sit ow at least one film every evening on a 

window in their drawing room. 



Are the stars movie fans? 
The answer to this question 
can best be obtained by taking a 
stroll down Hollywood Boule- 
vard some evening, between the hours 
of seven and nine o'clock, pausing, in 
front of one of the neighbourhood 
theatres to note who is going in to see 
the show. 

There are several of these theatres, 
differing in no way from those in your 
town. They have a few " loge seats " 
that cost about ten cents more than 
scats near the front of the house, just 
as your theatres have. They have 
organists who walk out flat on the 
comedy (haven't you often noticed how 
the organist quits just when he's needed 
most), and gaily coloured advertising- 
slides are run, between shows, advising 
the Hollywood citizen to trade at the 
Blatz Pharmacy and the Center 
Grocery, Fruit Stand and Market. 

The kids down in the front seats 
applaud and whistle when the film 
breaks : late arrivals stumble over your 
feet trying to find seats; the girls be- 
hind you whisper and rattle sacks of 
candy. Oh, everything is just too 
neighbourly for words. The evening 
show in a Hollywood film theatre is just 
like that in any other small town in the 
country, with one exception. 

That exception is to he found in the 
Hollywood theatre's audience. 

Look around you when the lights go 
on between shows. Probably you'll 



find that half a dozen of the most 
famous film stars in the world are sit- 
ting within a few feet of you. 

Norma Talmadge, in a plain black 
suit and hat with a turned-down brim, 
sits with her husband near the aisle. In 
front of you is Adolphe Menjou with 
his wife and son. You note in neigh- 
bourly fashion how becoming that sleek, 
plain coiffure is to Mrs 
Menjou. The man 
who stepped on your 
toe you discover to 
be Monte Blue, so 
you forgive him, of 
course. The Tor- 
rences, the 

O'Malleys, the 
Beerys, all sit 
nearby. 

Indeed, Holly- 
wood goes to the 
movies and en- 
joys them 
thoroughly. 

You may think 
this odd. Fre- 
quently a person, 
after visiting 
one of the local 
studios and 

watching a film 
production in the 
making, declares that 
he never will enjoy a 
motion picture again. 
Illusion has been 



Si rceii which is fitted over the large central 

destroyed. He knows that the face of 
the beauteous star is coated with yellow 
grease-paint, that the rooms in her man- 
sion have only three walls and no ceil- 
ing, that her lover gathers her into his 
arms and murmurs, " At last we are 
alone," with eight or ten carpenters and 
electricians, besides cameramen and 

The late Thomas 

I nee owned this 

projection 

room. 




52 



Picture 5 and Pichjre puer 



MARCH 1925 




Mr. and Mrs. Pat O'Malley 

directors looking on. No, sir. No 
more movies for him ! 

Imagination is strongly developed in 
the actor. On the set he immerses him- 
self in his role. This gift of imagina- 
tion makes it possible for him to view 
a motion picture with the ingenuous- 
ness of one who knows nothing of the 
details of picture-making. He has 
worked hard at his job all day, just as 
you have. He is tired and he wishes 
to relax and be amused. So he goes to 
the movies, just as you do, and enjoys 
them quite as thoroughly. 

As is well known, Douglas Fairbanks 
•^^ and Mary Pickford have a showing 
of some pictures every evening at Pick- 
fair. They turn their living room into 
a projection room by placing a motion 
picture screen over one of the windows. 
A portable projection machine is run 
by a regular operator. 

They, and a few other stars, adopt 
this means of having a private showing 
of the films they wish to see. A few 
directors and producers have projection 
rooms built in their homes. But this 
is the exception rather than the rule. 
Hollywood, as a whole, goes down to 
the Boulevard, when it wishes to see a 
movie. 

" Mary and I are movie fans," Doug 
assured me the other day. " A lot of 
people have the idea that we run pic- 
tures every evening m order to study 
and criticise what other people are 



and Eileen arc regular attendants. 

doing. That's all wrong. We see pic- 
tures for just one reason. They enter- 
tain us. We like them. 

" I'm the best audience in the world," 
he continued. " Wh.en I'm watching a 
motion picture I forget all about the 
mechanics of the production, and con- 
centrate on the story. If it's half-way 
g'ood it will hold my attention. 

" Did you see The Sea Hawk?" 
Doug demanded, in true movie fan 
manner. " Say, that's a great picture, 
isn't it ! Those fights aboard the galley- 
ships were wonderful !" 

Norma and Constance Talmadge arc 
inveterate movie fans. Norma never 
misses a Pola Negri picture. Rudolph 
Valentino is also one of .her favourites 
among the movie stars. Constance is :i 
Charlie Chaplin and Harold Lloyd fan. 
The Talmadge girls also have 
favourites among the directors, par- 
ticularly following the work of Eric 
Yon Stroheim, Ernst Lubitsch, limmie 
Cruze, Frank Lloyd, D. W. Griffith 
and Sidney Olcott. 

Pola Negri, swathed in ermine and 
sitting upon a gilded throne (she's 
enacting the role of " The Czarina," 
you know), stepped out of her regal 
character long enough to tell me that 
she, too. attends the movies regularly. 
Film fans who do not enjoy the 
elaborate prologues staged in the more 
pretentious picture theatres, will be 
interested to know that Pola is wi'.h 
them in this. 



" I do not often go down town to the 
Los Angeles picture theatres," sighed 
Pola. " I do not like these long pro- 
logues they show before the picture 
there. Someone comes out and he sing 
and sing. Then the orchestra play. Then 
the organist play. I am by that time so 
tired I cannot enjoy the picture. 

" But the little show in Hollywood I 
like. It is there I go to 'the movies 
many times." 

Tf you happen into a Hollywood pic- 
ture show, however, don't expect to 
find the stars of the production you're 
viewing in the audience. Players usually 
see each picture in which they appear 
in the studio projection room before it 
is released to the public. Sometimes, 
though, they do not see the completed 
picture at all. Anna Q. Nilsson is one 
star who simply cannot keep track of 
her screen self. Small wonder, really, 
when one considers the number of pic- 
tures in which Anna Q. appears during 
a year's time. 

In conversation with her one day 
recently I spoke of her work in' The 
Side Shmu of Life in which she 
appeared opposite Ernest Torrence. 

" I haven't seen it. Is it a good pic- 
ture?" she asked impersonally. 
I thought so. 

" I prefer seeing pictures in which 
I have worked, in the studio projection 
room," she said. " In a motion pic- 
ture theatre sometimes, during a tense 
dramatic scene, someone will laugh out 
loud or in some way direct the attention 
of the audience from the picture. This 
is very upsetting to any member of the 
cast who happens to be viewing the 
picture. In fact, it's heart-breaking. 
" You see, we really throw ourselves 
heart and soul into doing just the best 
work we can. When some thoughtless 

Tony Moreno is his outt film operator. 




MARCH 1925 



Pictures and P/cfurepuer 



53 




Dvrothy Mackaill and her mother arc both staunch movie fans. 



person in an audience destroys the 
effect we've laboured so hard to build 
up, it is only natural we are upset over 
it. 

" With the exception of my own films, 
though. I enjoy seeing pictures in the 
regular motion picture houses.'' 

Anna Q. and .her husband live on a 
ranch near Van Nuys, California. Two 
or three times a week, after dinner, 
they drive into town and go to the 
movies, just the way ordinary country 
folks do. 

Hollywood, en route for the movies, 
is just like all the other coast to coast 
thousands, who after a strenuous busi- 
ness day, want to relax for an hour 
or two and laugh and cry with their 
favourite hero or heroine. And laugh 
they do— Doug has a famous chuckle — 
and Harold Lloyd's grin is just as wide 
viewing Buster Reaton's antics, as it 
is when he faces the camera. 

And once, sitting next to Pola Negri, 
who has broken up more homes than I 
could count — on the screen — I was 
startled to hear the tiniest of sighs 
brought forth by a film husband's 
infidelity. 

Most of the stars have the happy 
faculty of forgetting the business part 
of picture-making when they are watch- 



ing a story unfold on the screen. A 
love scene is a love scene, and not just 
part of the day's work, when it is 
viewed from a theatre chair. Con- 
stance's gasp is quite audible, when she 
sees Buster's foot slip on the window 
of a twenty-storey building. She has 
forgotten it is only a camera stunt. 

\Jorma's eyes always grow tender 
when Baby Peggy gazes down at 
her audience from the silver-sheet, while 
Dick and Mary Hay Barthelmess, re- 
minded of their own small daughter 
safely asleep in her nursery at home, 
invariably whisper, '* Isn't she darling?" 

Nor does the problem .of " What to 
wear?" appear to concern the Holly- 
wood fan, hastening to be in time for 
the nine o'clock showing. " I can't 
possibly go in this," says Viola Dana 
to her sister, Shirley Mason, indicating 
the blue and white gingham frock she 
is wearing " Yes you can," returns 
Shirley, who hates to get in after the 
picture has started. " I didn't stop to 
change, either" 

If fastidious Gloria, of the gorgeous 
Paris gowns, finds she has forgotten 
her gloves, she tucks her hands in the 
pockets of her sports coat and scans 
the picture just as blithely; and just 



the other night I saw Mildred li.nh, 
Harold Lloyd's lovely wife, whisper 
something hurriedly, and Harold draw 
foi iii .1 '•! i .it squat e of white linen 
which in- attempted to pass t<> hei with 
the utmost secrecy. Mildred had foi 
hanky." 

\ ( s mo\ ie stars, when they turn 
movie fans, an- just like you and I. 

The stars, lik< i \ < ryone i l e, 
their children to the movies every Fri 
day night, because there is no school 
next day. Jackie Coogan and Bab\ 

v usually make their screen 

appearances then, and are heartily 

applauded by their playmates, and 

Charlie Chaplin's tnek cane and 
funny shoes are as gleefully greeted in 
Hollywood as they are in the East by 

his youthful admirers. 

IWIetropolitan Los Angeles has some of 
the most beautiful motion picture- 
theatres in the world. When a motion 
picture is to have its premier showing 
at one of these, filmdom attends in full 
force. Powerful studio lights beat 
down upon ermine clad, jewelled 
women and their escorts, as they step 
from their limousines.. Literally thou- 
sands of people, massed about the 
theatre's entrance, applaud the various 
stars as they pose for photographers 
and cameramen on their way into the 
theatre. For a moment, the white glare 
of publicity is picking out the Talmadge 
sisters, Corinne Griffith, Pola Negri, 
Thomas Meighan, Tony Moreno, 
Eugene O'Brien, as they " go to the 
movies." 

Which reminds us of an oft-repeated 
talc told of two of the most famous 
stars and how they attended the 
premiere of a picture. The night that 
Rosita opened in Los Angeles, with the 
usual fanfare of trumpets and array of 
film stars, Norma Talmadge put on a 
shabby old suit and hat. Eugene 
O'Brien dressed up like a mechanic on 
his evening out, and together they fared 
down-town on the street car. The usual 
thousands were massed against the 
ropes stretched across the theatre lobby, 
and Norma and 'Gene wormed their 
way to a place of vantage, quite un- 
recognised. As their fellow film stars 
stepped haughtily from glittering 
limousines, in ermine wraps and even- 
ing dress, Norma and Eugene would 
hail them with all sorts of remarks, 
complimentary and otherwise. 

Each time a tinge of red mounted to 
the cheek of some haughty star, as 
Norma's jest reached home, the two 
conspirators renewed their barrage. 
They had a perfectly gorgeous time. 
hut Hollywood waits impatiently for 
the day Norma and Eugene will pay 
for that evening's fun. And the stars 
will make them pay. 

But the following night, had the fun- 
loving duo looked for an ermine clad, 
jewel-decked target upon which to hurl 
their shafts of humour, they would 
have found not a single film star, hut 
instead many film fans, sitting in the 
little Hollywood picture houses, watch- 
ing their favourites on the screen. 

Helen Carlisle. 



54 



Picture 5 and Pichjre poer 



MARCH 1925 



ap Eternal 






(jDwboy 

Otherwise known as Charles (Buck) Jones. 

««1"~v uck is out at the moment. I'm so sorry — 

LJ something must have kept him. He never 

J breaks an appointment if he can help it," 

were the first words that greeted me, when 

I enquired at a certain Hollywood bungalow for the 

famous cowboy. The speaker, a slim pretty girl who I 

discovered to be Buck's wife, added to the disappointing 

news an invitation to come in and sit down until the 

truant turned up. 

But even as I stood hesitating on the doorstep, a wild 





In fighting trim. Left : 
"Against All Odds." 

whoop made me turn quickly, to find 
the object of my call trotting up to us 
on a tine black horse. Beside him a 
small, sturdy maiden of some six or 
seven summers, rode astride a chestnut 
pony. The two reached the door 
almost simultaneously, and as Buck 
leapt lightly to the ground, I turned 
to lend a hand to his small companion. 
But little Miss Jones disdained my 
proffered help and was out of the 
saddle with the ease of a practised 



Above: Buck Jones. Left; With Tom 
Mix in " Dick Turpin." 

equestrian, before I could do more 
than blink my astonishment. 

Buck's dark eyes twinkled at the 
expression on my face, then they 
rested for a moment, full of pride, on 
the curly head of his small daughter 
as she disappeared into the house with 
her mother. 

" That kid's going to be a great little 
horsewoman one of these days," he 
remarked, as he took the bridles of 
both horses, and led them round the 
corner of the house. 

" Would you like to come around 
with me whilst I take my beauties to 
their own quarters?" he asked. "Then 
we'll go indoors and rake up my wild 
past together." 

[ intimated that I didn't mind in the 
least and followed him to the stables. 
I could not have hit upon a more 
opportune moment to interview 
" Buck." Dressed in riding breches 
and boots, and a wide hat. with the 
horses one on either side of him, he 
looked just right and in the atmosphere 
that fitted him best. There are quite 
a few cowboy stars on the screen, but 
Buck is surely one of the most satisfy- 
ing of the lot. There is a genuine 
look of the outdoors in his bronzed, 
good-humoured face, with its clear-cut 
features and twinkling dark eyes, and 
his tall, well-knit figure — he stands just 
off six feet in height — ds that of a 
trained athlete. 



MARCH 1925 



Pictxjre s and Picture poer 



55 




her — I used to do an ad with the 
same company." I lis voice thrilled 

with real pride, ami I decided i1 

once tii.it the Jonei famil) wat 

really a mutual admiration nciety. 

By this time the horsea had been 

stabled, with the help Of Mini's man. 

and Buck washed his hands with 



Above : In complete Cowboy Regalia. 

Buck is one actor in Wild West 
films who is really at home with horses. 
No wonder that his little daughter 
already shows such good horseman- 
ship. I said as much to Buck himself, 
but he laughingly denied responsibility 
for the whole of her prowess. 

" She gets it from her mother as 
well," he explained. " My wife sure 
is some horsewoman. She can do 
anything she takes it into her head to 
do, on horseback, without losing her 
nerve. ^She ran away from home 
when she was sixteen, you know, and 
joined a Wild West Show, as a 
trick rider. That's where I met 



Below : With Evelyn Brent in 
Desert Outlaiv." 




Above : 
Buck is a 
polo 
enthusiast. 



disregard foi u e cold wafa r at 

an outside tap, and led the way into lite 

house 
Tin- Junes menage is not, perhaps, 

the largest in l lolly wx><>d, hut it is cosy 

ami homely aifcl the room into which 

Buck took me was exceptionally 
attractive Seated in a dee]> armchair 

before a wide open window that looketl 
out mrto the garden, I questioned him 
abOUt his l«,is: 

" Was this Wild West Show you 
jomed your first appearand ai a 
public performer r" I asked. 

He nodded 

"Yes. I was l>orn in Vincci 
Indiana, you know, and ever since I 
could toddle I've been real fond of 
horses. I spent most of my boyhood 
on a ranch, learning everything a cow- 
l>oy has to know. Then I got kind of 
ted up with staying in the same place 
— I've always been a restless sort of 
chap, so I knocked around a bit, pick- 
ing up jobs here and there when I 
wanted them, and living out in the 
open as much as possible. After that 
I thought it would be rather a lark 
to join the army, so I enlisted in the 
U.S. Cavalry and got ordered out to 
the Philippine Islands. It was after 
I had been wounded and discharged 
that I joined the Wild Wesrt; Show in 
question." 

" And what made you first try pic- 
ture work?" 

He shrugged his shoulders. 

" A new adventure," he said. " It 
was after the Great War that I had 
my first offer of a starring contract. 
Before that I'd put in some work as 
an extra, when I was at a loose end 
for something to do. Once or twice 
at Universals, and after that in three 
of Monroe Salisbury films, and at the 
(Continued on page 77). 
A little music beturm trrncs. 




56 



Pictures and Pichjre$ver 



MARCH 1925 



THE FILM OF THE MONTH 



sKL LifeWon,derfu 




D. W. Griffith took a 
company of players 
over to Germany to 
film this story, which 
was at first titled 
" Dawn." A war- 
time story, its value 
is enhanced by the 
realistic back- 
grounds, for condi- 
tions over there were 
still much as the film 
shows them in cer- 
tain areas. 



Xeil I lain ilton as the young Gentian lad. 

The story of a little group of 
Polish refugees in Germany 
during War Time, Isn't Life 
Wonderful? has all the sole 
and exclusive Griffith hall-mark as 
wall as the Griffith defects. It is told 
in somewhat crude fashion but its 
heart interest is typical of Griffith and 
one seems to share the trials and 
troubles of the half-starved hero and 
heroine, and exult with them in their 
very brief moments of happiness. 



Top right : " Inga." {Carol Dempster), and the invalid 
Belozv : A typical interior of a typical Professor's 
czvelling in War-time Germany. 





Carol 
Dempster 

dispenses with her curls and accentuates 
an aristocratic profile. 

Vivid pictures of the distress caused 
by War are shown as well as some 
very lovely exteriors also made in 
Germany. It is not a propagandic film 
in any way; the plot might just as well 
have been laid in any country in war- 
time, and the simple yet delightful 
scenes between " Inga " (Carol 
Dempster), and her lover (Xeil Hamil- 
ton), belong to any and every place 
and age. 

Carol Dempster without her ringlets, 
but with a very fine part, makes the 
most of it. The plot doesn't matter 
very much, individual scenes and 




The lovers enjoy a few quiet moments 

by the ivaterside. 
characters being the high lights. Of 
the usual Griffith " suspense " there is 
nothing save a scene in a food queue, 
where " Inga " waits her turn to buy 
meat. Meantime German marks are 
falling lower and lower until by the 
time she reaches the front of the 
queue her little store of coin is value- 
less. 

There is also the very pitiful little 
tragedy of some potatoes to wring tears 



MARCH 1925 



Pictures and P/ctvrepoer 



57 



Left : " tngtfi 
gift houst 
delights lier 



12 



U-t 






\ 



Vw 



A 



Below : A joyous occasion 
— " Inga's " hen layi an 

Cqq ! 



Lufino 

Lane 



& 



% 



II 



*'<fe 



Above; The food-queue, one of the most 
tragie consequences oj War 

from the eyes of a soft-hearted 
audience. " Inga's lover raises them 
upon his tiny plot of land, and the two 
rejoice in the fact that they are now 
practically "self-supporting" so far as 
food is concerned. But they are 
accused of profiteering by their fellow- 
refugees, and the potatoes arc stolen, 
leaving them as poor as they were when 
they started. 

And then the Griffith sentiment comes 
in with the inevitable Griffith moral, as 
" Inga," leaning towards her lover, 
whispers comfortingly, " Never mind, 
we still have each other!" 

Isn't life wonderful ! 

It is certainly a contrast to 
Griffith's next, which is to be The 
Sorrows of Satan, originally scheduled 
for Cecil De Mille. 

Bottom left : Neil Hamilton, Carol 
Dempster and Helen Lozcell (in chair). 
Beloiv (left to right) : Helen Lowell, 
Marcia Harris, Erz'ille Aldcrson, Carol 
Dempster, and Frank Pualia 



A 



g-«S 



*~r_ 



58 



Picture s and Picture $uer 



Little 

Clar& 
Bow 



A Beauty Contest Winner who made 
good on the movies. 



T 



1 he Perfeot Flapper" is Holly- 
wood's name for her, and 
she acknowledges the title 
with an impish grin of satis- 
faction. Flapperdom, with all its 
attendant privileges and joys, is," in 
Clara's opinion, a delicious phase of 
existence, to be outgrown with reluc- 
tance. Growing up is a tragedy, by 
virtue of its very inevitableness, but 
she is determined that it shall not come 
upon her until the very last possible 
minute. 

And who can blame her in her 
decision to go on flapping as long as 
she can? Certainly not those who 
have seen her at work, and have fallen, 
as all do sooner or later, victim to 
the charms of this round-faced little 
girl, with her elfishly pointed chin and 
big brown eyes. 




Clara Bow. 




MARCH 1925 

The story of Clara's advent on the 
screen is one of those real life 
romances that are always harder to 
believe than fiction. The sort of thing 
that every girl film fan, who ever 
sported Mary Pickford curls, dreams 
will happen to her one of these days — 
although in her heart of hearts she 
knows perfectly well it never will. 

(^lara was (and still is for that matterj 
a film fan. She went to the 
pictures whenever she got a chance, 
read movie magazines, and offered up 
the incense of admiration on the 
shrines of her adored favourites, just 
like any other picture fan. And deep 
in her heart, of course, she cherished 
a desire to " go on the films " herself. 

A friend of hers who .knew some- 
thing of this secret ambition and had 
great faith in Clara, sent her photo- 
graph to a screen magazine conducting 
a beauty contest, without telling her 
what she intended doine. 




Clara in 
" Maytime." 



'm 



She is youth personified. 

So it happened that one morning the little Brooklyn 
school-girl received a letter — a golden, magical 
epistle — informing her that from fifty thousand 
competitors, she had been awarded the first prize — 
a chance to make good on the movies. 

Into the tiny roles that were given her at first she 
put all the enthusiasm at her command, and so 
marked was her success that she did not sink back 
into obscurity as so many of the winners of beauty 
contests have done. Elmer Clifton was so struck 
with the ability she showed that he gave her the 
part of the tomboy stowaway in Doicn to the Sea in 
Ships, and after that her rise to fame was almost 
meteoric. Within a few weeks of the release of the 
picture she had received about half a dozen offers 
of contracts from various film companies, and she 
finally signed on with Preferred Pictures. 



MARCH 1925 



Pictures and PicfvireOuer 



59 



Her first role for this company was 
that of " Alice Tremaine " in Maytime, 
a costume film set in the picturesqu- 
period of 1865. Since then she has 
"flapped" her way delightfully 
through a whole list of pictures with 
far more call to distinction than those 
of many an older and more ex- 
perienced player. Although she is on 
a long term contract with Preferred, 
other producers insistently clamour for 
a loan of her services, ami after she 
had finished May time she was allowed 
to play in Black Oxen and The Swamp 
Angel for other companies. 

C.he went back, however, for 
Poisoned Paradise, and has since 
played in many others, including 
Daughters of Pleasure, Wine, This 
Woman, Black Lightning, The Birth 
of the West, The Boomerang, Helen's 
Babies, and The Adventurous Sex. 

The last-named film was made 
partly in New York and she was able 
to ^'isit some of her old friends in 
Brooklyn for the first time 9ince her 
sensational removal to Hollywood. Of 
course she was very much feted and 
fussed over, and everybody tried verv 
hard to spoil her. But it is one of 
Clara's charms that, no matter how 
much praise and how many sugary 
compliments she may have showered 
upon her, they cannot alter her. She 
is just a jolly, unaffected little girl, to 
whom youth and a certain careless 




Two modern and one old-time study of little Clara Bow. 



joie de vivre are 
the most priceless 
possessions Life 
has to offer. 

Working in pic- 
tures has not pre- 
vented Clara from 
remaining a staunch 
fan. She still likes 
to go to the movies 
whenever she can 
find the time, and 
the fact that she 
knows exactly how 
a film is made 
makes no difference 
whatever to her en- 
joyment. " Once I 



get into the theatre and the lights go 
down," she confesses, " I just lose my- 
self in the adventures of my friends 
on the screen, and I don't come back 
to earth again until the lights go up." 

She still has her special favourites 
too, and at the head of the list she 
places Dorothy Gish. Mostly her 
admiration is reserved for juveniles, 
round about her own age, for her 
tastes are not one whit more sophisti- 
cated than she is herself. 

"Youth to youth," says the little 
star, and lives up to it. When Clara 
decides to join the increasing crowd of 
Hollywood youngsters who aspire to 
" mopping mother " parts, I shall give 
up films in honest indignation. 



J 



Pictures and Pictxjrepver 



MARCH 1925 






m - 



With Some Favourite Players. 

Left: Tea in a Florentine garden during 
a visit in " Romola," which was filmed in 
Italy. The three principals are in costume. 



Below: Hoot Gibson on location at Pendleton, 

Oregon, where he won his World's Championship 

three years in succession. 



» V 



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Above : Directing Louise Fazenda and Buster 
Collier in "The Lighthouse by the Sea." Below. 
Claire Windsor and Lloyd Hughes rehearse a love 
scene from " The Dixie Handicap," whilst John 
Sainpolis and Director Reginald Barker look on. 



■ 



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I* 



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J* 



£ 



r^fc. -£!% 



[**$ 



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C*£ 



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Above : Marie Prevost, Monte Blue, and 

Harry Beaumont (Director) try out the 

motor cycle used in " Recompense." the 

sequel to " Simon Called Peter" 






MARCH 1925 



Picture s and Pichjre poer 



61 




I 



tf ■ ■■■■■■■■■ g- 



■ EASTERN FOAM" i* sold 
in Large Pots, Price 14, by 
•11 Chemists and Stores. 

Simple size : id. 







r {f\/ee/\ yauoAari 

l ins charming young British Film 
v tress is .1 regular user oi E i item 

I "1111 " Sin- s.iys : — 

" ' Eastern loam ' is a 
perfectly delightful preparation. 
I find it quite indispensable as 
a preventive against the harmful 
effects of exposure to wind 
and extremes of temperature." 

THE systematic use of "Eastern 
Foam ' protects and purifies 
the skin, ensuring that soft, velvety 
texture and fresh youthful bloom so 
admired in a woman's complexion. 

This wonderful "Cream of 
Fascination ' softens, whitens, 
and tones up the skin and enables 
it to withstand both heat and cold 
with impunity. It is delightfully 
refreshing- after any exertion. Just 
a touch of 'Eastern Foam "night 
and morning and before going out 
is all that is necessary. 

" Eastern Foam ' is non-greasy 
and is an admirable basis for powder. 

PATTERN OF FANCY DRESS COSTUME 



A paper pattern of the costume of the famous "Eastern Foam" Girl 
will be sent post free for od., together with coloured paper reproductions 
of breast-plates, head-dress ornaments and giant replica of the 
" Eastern Foam " box. Write, stating whether Child's or Adult's size 
(34, 36 or 38 inch bust), to — Eastern Foam (Pattern Dept.), 
16-30, Graham Street, London, N.I. 



"<2P 



EASTERN FCAN 

VAN 1 5 hi I N G C R E AM 




TME CREAM OF FAS C J NAT/ ON 



Use "KALOSAN" Tooth Paste — as good as ''Eastern Foam." 



62 



Pichure s and Pichure puer 



MARCH 1925 



<t 



Movies About 
ovies 

They hold out ii 

N 




They hold out intense fascination for film lovers. 



ame the capital of America," 
was one of the questions 
asked in a recent school 
examination. 
And the child addressed answered 
promptly and according to her genera- 
tion, " Hollywood !" 

To quite a number of people there 
is nothing funny about the reply. If 
you asked them what place Hollywood 
holds in the general scheme of things 
they would probably lead you to be- 
lieve it is the centre of the universe. 
These are the film fans of this world, 
a formidable throng to whom Holly- 
wood is a little Mecca, the shining 
realisation of every dream that they 
have ever dreamt. Offer to give them 
a peep into Paradise and they will be 
mildly interested, but the promise of a 
trip to the American film colony will 
send them into ecstasies. 

Perhaps that is why movies about 
movies and movie people are always 
hailed joyously by the larger portion 
of the public. For, if one cannot see 
the stars and how and where they live 
in the glorious reality, the next best 
thing is to see them on the screen. So 
we have a whole array of films in 
which the adventures of Hollywood 
people play an important part, and we 



The first, and some think 
the best of these movies about 
movies was Souls For Sale, 
in which the adventures of a 
young girl in the film colony 
are depicted. If we are to 
believe the lesson hammered 
home bv this and others of its 






Above : 

Viola 

Dona 

and 

Glenn 

Huntti 

" Mertor. 
of the 

Movies." 
Left: 
Percy 

Marmont 
in " The Legend of Hollywood." 

and several good satirical hits at the 
absurdities of certain types of movie 
acting have been introduced. Then 
we have had Hollyri'ood, Mary of the 
Movies, The Legend of Hollywood, Behok 
This Woman, and others, some of them serious 
dramas and others of a semi-humorous type 
And apparently the public does not tire ol 
them, for they continue to come. E. E. B 

Below : Dorothy Phillips and Kenneth 
Harlan in "All the World's a Stage.' 



have thrilling shots of a famous star 
walking down her own garden path 
just like any ordinary human being; 
another fajnous star going out to get 
a haircut, or smiling at the postman 
who brings his fan mail, and others 
eating (yes, actually and truly eating) 
in the studio restaurants. No wonder 
we are fascinated by the sight, and go 
away lost in admiration for the kindly 
film folk who humour us so delightfully. 



Above : Miss Du Pont 
lends " Mary " her fur 
root and her motor in 
" Mary of the Movies." 



ilk the kdnema artiste's lot, 
like that of Gilbert's police- 
man, is not a happy one. A 
film studio is an absolute 
death trap, and murder, arson, 
or sudden death may be the 
portion of those who work 
there, at any moment. 

In Hollywood With Potash 
and Perlmuttcr is a clever 
comedy about film making, 




^_A\ 



tfARCH 1925 



Picture s and Pichure puer 



63 




Patngrj/ti by Slruirm 
Ctitume by f'Hiii Llfne 



Figure - - is Fashion's Foundation 

The smartest frocks but drape the form. Be assured 
that your figure appears to the best advantage 
by wearing one of the delightful garments from 




Elastic Belvadears 
Reducing Garments 



Girdles - Step-ins - Combinations 

Brassieres - Gossard Front-lacing Corsets 



Offered in a wide range of sizes and prices to suit your 
individual requirements. Ask your local dealer to show 
you these lovely garments. 

THE BRITISH H. W. GOSSARD CO., LTD., 

Largest Makers of Fine Corsets 
168 Regent Street. W. I 

alto at TORC.NTO. CHICAGO. NEW YORK, SAN FRANCISCO. SYDNEY. BUENOS AIRES 




The smart lines of the gown 
shown in the accompanying 
photograph are accentuated by 
Model 758 (above) a twelve 
inch step-in. Made of a new 
type of hemstitched elastic, 
with the exception of the nar- 
row front of fancy broche' and 
a saddle back. The front has 
short opening at top and bot- 
tom where garment fastens with 
small hooks and eyes. Trim- 
med with dainty pink and blue 
braid. Desfgned for slight and 
average figures. Three pairs of 
hose supporters. Sizes 24 to 36. 



64 



<ii\eiwd 



Picr\jre s end Pichjre p 

4£ C&KO 



at?/" 



MARCH 1925 



5 




A MATTER OF OPINION. 

The Fan is a creature whose curious 
feature, 

As any observer will find, 
Is sheer inability (through its agility), 

Ever to make up her mind; 
Her praise leaps the fences — her critical 
senses 

Come lagging behind ! 

Though stars are a-plenty, her heart's 
room for twenty, 

And twenty at once she likes 
" best." 
What's one in so many? She'll idolise 
any, 

If that must be put to the test. 
Each was (for a minute) the only one 
in it — 

Excepting the rest ! 

To Rudolph and Ramon .her love shortly 
came on, 

While still for Tom Douglas she 
pines ; 
For William or Dustin her heart may 
be bustin', 

Yet who could resist Johnny 
Hines? 
Or Ivor Novello? or some other fellow 
On similar lines ! 

Should Betty play Barric? Was Jackie 
or Marie 

The very best "Oliver Twist"? 
ts Barbara La Marr a new-style Theda 
Bara. 

Or does no such siren exist? 



Oi is Mabel Normand a winner on 
form? And 

So on down the list ! 
Well, choose your own fancy, a Nell or 
a Nancy, 

"A Doro, a Pickford, a Gish"; 
Though expert the angler, and suasive 
the wrangler. 

Still left in the sea there are fish ; 
Whatever your favour, its taste and its 
savour 

Were all we could wish ! 

F. M. F. 

ON AN OLD VOLUME OF 

PICTURES. 

In 1919, oh, amazing sights! 

In 1919. oh, amazing frights ! 

Here's Dougy cleanly shaved, most 

strange to see, 
And Charlie hurling custard tarts with 

glee. 
Here's Betty Compson poised upon a 

plank. 
The while her hero flounders in the 
tank. 

The heroine her fifteen shooter loads — 
" The Bloody Hand," in forty episodes. 
Here's C. de Millc, " a promising young 

man," 
And Carmel, rustic in a Tam-o'-S.Han. 

No subtle Menjou smiles bis wicked 
way. 

Rut villains inky brows and beards dis- 
play. 

Xo lovely Pola, merry, sad. or moody, 

And strangest thing of all, there is 
NO RUDY! M. A. 



PULLING PICTURES TO PIECES 

[This is your department of Pictcregoer 
In it vje deal each month with ridiculous 
incidents in current film releases. Entries 
must be made on postcards, and each 
reader must have his or her attempt 
witnessed by two other readers. 2/6 
will be aiearded to the sender of each. 
" Fault " published in the Picttrec.oer. 
Address: "Faults," the Pictlkecoer, 
93, Long Acre, IV.C.2]. 

Who Made the Bed? 

In The Call of the Canyon, Marjorie 
Daw as '* Flo " takes the new arrival 
into the bedroom of the two-roomed 
shack, and it is seen that the bed is 
not yet made. She then takes her into 
the other room where her mother is 
working, and hurries back into the bed- 
room. During the time it takes to get 
from one room to another some unseen 
presence has evidently been at work. 
for the bed is made. 

E. S. (Hammersmith). 

It Looks Suspicious! 

Patsy Ruth Miller as " Magarita " in 
The Yankee Consul drops one of her 
gloves — presumably by accident ! She 
drops a long kid glove, but at the same 
time she is wearing a pair of totally 
different ones. D. F. (Wimbledon). 

Perhaps She Used Monkey Glands. 

In The Ten Commandments, the pro- 
ducer does not follow Biblical history 
correctly. From the fact that Miriam 
watched over her brother, Moses, in the 
bullrushes, I had taken it for granted 
that she was considerably the elder of 
the two. Yet in this film we are shown 
Moses as an old man while Miriam is 
still quite a young girl. 

M. B. (Nottingham). 

Did he put Them on in the Water? 

In Flaming Passion the hero rescues 
his sister from a raging torrent. When 
he brings her out of the water he has 
only his trousers on, but when he goes 
back and emerges once more with his 
fiancee he is seen to be wearing a shirt 
and collar as well. 

J. S. M. S. (Stirlingshire). 

Reel London Isn't Real London. 

The story of the Gaiety Girl is sup- 
posed to take place in London. How is 
it, then, that when the villain receives 
a cablegram he tips the hov a dollar 
bill? D. B. (Halifax). 

The Wrong Way Home. 

In A Man's Leisure, a launch is sent 
to fetch the hero home for the general 
election. It goes up stream on the out 
ward journey and returns with him still 
going tip stream. L. H. W. (Acton). 

In Advance of the Fashions. 

Some of the scenes from The 
P-assionate Adventure are supposed to 
take place in 1914. In one of them a 
young lady with shingled hair took 
part. Surely this is a trifle previous? 
E. M. C. (Cambridgel 



MARGH 1925 



Pictures and Pict\jre$ver 



65 



j||^^(%AAA(i(iri^(in(iri{iri(i(iriri^r^(^(t^(t(iA{| 






ihel Jiarm oi ( m m m I irtlu i» wraj 




i 



Sttttor aartt 

HOSIERY 



/ o r c \y - 
O c c a s / o /xJ 



^« Illustrated Booklet No. 74- a»ui nam; o/ n*ar«.s/ 

retailer, will be sent post free on application to 

N. CORAH &■ SONS. Ltd... St. Margaret's Works, 

Leicester. 



'VE put them in, Madam." 
"That's right, I know I'm 
safe when XftTlaraaref is in- 
cluded. People can think 
what they like about foreign 
Hosiery, but while there 
is British Hosiery to be 
obtained, and such good 
British as Sffflam artt I'll 
never buy foreign .makes. 
Keep the British flag flying 
is my motto, and the best 
way is to buy British goods." 



Ask for "CORA." a- typical example 
of St. Margaret value in Artificial Silk. 



(***&£*£*£#&&**&&&&&&&&&&£$ & 4&l¥tfl!Vrflfr1 




" 1 have no hesitation in recommending: Pond's two delightful 
Creams. They have a most beneficial effect on the skin, and 
art so dainty and refreshing in use. POND"S VANISHING 
CREAM during the day and POND'S COLD CREAM at 
night — that is my prescription for an ideal complexion." 

Thousands and thousands of women are following 
Miss Bellamy's method daily — Pond's Vanishing Cream 
on every possible occasion during the day to refresh 
the complexion and protect it from the dangers of 
exposure — Pond's Cold Cream every night before" 
retiring to rest to cleanse the pores and newly-forming 
cells beneath the surface and to keep the skin always 
fresh and young looking. 

" TO SOOTHE AND SMOOTH YOUR SKIN." 



In jar* 

1 3 and! 6. and tubes 7td. (handbag 
nd */-. The Cold Cream in 
extra large tabes 2 6. 

FREE SAMPLES' 

Pond's Extract Co.. 103 St. John 
Street, London, E.C.1. will tend 
on receipt of 3d. in stamp* for 
pt stage and packing, a sample 
tube of both Vanishing Cream 
and Cold Cream. 



Ponds 

Vanishing g- Cold 

Creams " 



66 



Pictures and Picfviretyuer 



MARCH 1925 



Choose your cards from this list. 

PICTUREGOER 
SERIES 

of Sepia, Glossy Postcards (every 
one a real photo) 3d. each — 2/6 doz. 

(Poll Fret) 



\S 



Art Acord 
Ben Alexander 
Gerald Ames 
Agnes Ayres (2) 
Betty Balfour 
Nigel Barrie (2) 
Wesley Barry 
John Barrymore 
Richard 

Barthelmess (2) 
Warner Baxter 
Hilda Bayley 
Wallace Beery 
Madge Bellamy 
Edna Best 
Constance Binney 
Monte Blue 
Betty Blythe 
Eleanor Boardman 
John Bowers 
Flora Le Breton 
Clive Brook (2) 
Mae Busch 
Georges Carpentier 
Lon Chancy 
Ethel Clayton 
Lew Cody 
Jose Collins 
Betty Compson (3) 
Fay Compton 
Jackie Coogan (2) 
Gladys Cooper 
Dorothy Dalton 
Viola Dana 
Bebe Daniels (2) 
Marion Davies 
Mildred Davis 
Marjorie Daw 
Priscilla Dean 
Reginald Denny 
William Desmond 
Richard Dix 
Ivy Duke (2) 
William Duncan 
Josephine Earle 
Douglas Fairbanks 
Dustin Farnum 
Elsie Ferguson 
Harrison Ford 
Hoot Gibson 
John Gilbert 
Dorothy Gish 
Lillian Gish 
Gaston Glass (2) 
Cnrinne Griffith (2) 
Mahlon Hamilton 
Elaine Hammerstein 
Hope Hampton 
Kenneth Harlan 
Wanda Hawley 
Jack Holt 
Violet Hopson 
Jack Hoxie 
Lloyd Hughes 
Marjorie Hume 
Charles Hutchison 
Rex Ingram 
Edith Johnson 
Justine Johnstone 
Buck Jones 
Leatrice Joy (2) 
Alice Joyce 
Buster Kenton 
J. Warren Kerrigan 
Norman Kerry 
James Kirkwood 
Theodore Kosloff 
Alice Lake 
Cullen Landis 
Vfatheson Lang (2) 
Li la Lee 
Elmo Lincoln 
Harold Lloyd 
Bert Lytell 



Louise Lovely 

May McAvoy (2) 

Katherine Mac- 
Donald (2) 

Malcolm McGregor 

Dorothy MacKail 

Percy Marmont 

Barbara La Marr (2) 

Mae Marsh 

Shirley Mason 

Frank Mayo 

Thomas Meighan 

Adolphe Menjou 

Patsy Ruth Miller 

Tom Mix 

Colleen Moore 

Tom Moore 

Antonio Moreno 

Marguerite De La 

Motte 

Jack Mulhall 

Mae Murray 

Carmel Myers 

Conrad Nagel (2) 

Nita Naldi 

Owen Nares 

Pola Negri (2) 

Guy Newall 

Anna Q Nilsson 

Jane and Eva Novak 

Ramon Novarro (4) 

Ivor Novello (4) 

Eugene O'Brien 

Mary Odette 

Pat O'Malley 

Baby Peggy 

Eileen Percy 

House Peters (2) 

Mary Philbin 

Mary Pickford 

Eddie Polo 

Marie Prevost 

Edna Purviance 

Jobyna Ralston 

Herbert Rawlinson 

Irene Rich 

Theodore Roberts 

George Robey 

Charles de Roche 

Rod la Rocque 

Ruth Roland 

Stewart Rome 

William Russell 

Joseph Schildkraut 

Gregory Scott 

Milton Sills 

Anita Stewart 

Lewis Stone 

Eric Von Stroheim 

John Stuart 

Madge Stuart 

Gloria Swanson 

Blanche Sweet 

Constance Talmadge 

Norma Talmadge (4) 

Richard Talmadge 

Conway Tearle 

Alice Terry (4) 

Phyllis Neilson Terry 

Queenie Thomas 

Ernest Torrence 

Rudolph Valen- 
tino (6) 

Henry Victor 

Florence Vidor 

George Walsh 

Bryant Washburn 

Niles Welch 

Pearl White 

Earle Williams 

Lois Wilson 

Claire Windsor 



Figurel after names denote the number of different poVJ 



PRESENTATION COUPON 

Attach this Coupon to your order for 
Picturegoer Sepia. Clotsy Postcards 
to the value of 2 b or more and the 
Presentation Book — as sold at 2/- — 
will be sent to you FREE. 

A ././,.■ s s- PICTUREGOER SALON, 
88 Long Acre, LONDON, W.C.2 

P. March. 



This absorbing 2/- Book 

FREE! 




Size of Book 
7\ in. by 5 in. 



THE response to our previous offer has been so 
great that we have arranged for a further 
supply of these Books to be given away FREE. 
" Picturegoer " Readers who have not yet secured 
a copy should do so without delay. 

"How to Become a Film Artiste" is as absorbing 
as a novel. Not written just for those who cherish 
the desire to become film stars, it will delight 
every kinema enthusiast who wants to know how 
a picture play is produced — what a studio is like 
— how parts are cast — the ups and downs of the 
life, etc. 

This 2/- Book is presented FREE with an order 
for " Picturegoer " Sepia, Glossy Postcards of Film 
Favourites — real photos — amounting to 2/6 or more. 
Choose yqur postcards from the list herewith. 

Send in your order with remittance accompanied 
by Presentation Coupon opposite and the Book 
will be sent free and post free. 



N5 



Address 

88, 



Picturegoer Salon. 
Long Acre, London, W.C.2 



DID YOU KNOW? 

— that the illumination in a studio 
is sometimes equal to 70,000 
candles ? 

— that one "Property" Room 
contains enough furniture to equip 
a modern hotel ? 

— that it has 30 different work- 
basketsfilled with needles.scissors, 
thimbles and sewing material ? 
— that the objects of art are so 
numerous that it requires several 
stockmen to look after them ? 
— that a player when approaching 
the operator must branch off before 
reaching the camera or the picture 
will be ruined ? 

— that ugliness can be an asset ? 
That one film actor is so ugly that 
a series of films were written ex- 
pressly around him ? 

This is just a hint of 
the many fascinating 
subjects you will find 
treated in the book. Send 
for your copy to-day. 



MARCH 1925 



Picture s and Pichjre £> o £V 



67 



Shadowier. 

MOVIE GOSSIP Jfg OF THE MONT 



■Nt 



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■ ■ 
.v. 



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>H*$ 



Deauty abounds in the cast of Cobra, 
Rudolph Valentino's first Ritz- 
Carlton picture. Besides Nita Naldi 
and Gertrude Oimsted, Rudy had Claire 
dc Lorez, Eileen Percy and Lasky 
Winters working with him. The last- 
named played the " cobra woman," and 
wore a costume composed entirely of 
jewels, specially designed for her. 

/"^lara Kimball Young has come back 
to screenland. Illness, and various 
other causes have made Clara an absen- 
tee from her studio for many months. 
She is playing in Lying Wives, with 
Niles Welch, and Madge Kennedy 
(another absentee) supporting her. 

Dola Negri is no longer the only titled 
lady on the screen now that Gloria 
Swanson has become the Marquise de 
la Coudray. Douglas Fairbanks 
declares he has a Duchess working for 
him in Don Q, out at his Santa Monica 
studio, but she isn't a star. Also a 
twenty-one-year-old Prince, one Serge 
M-deva-ne of the house of Bagratti 
(Asia Minor) is a " steady " in First 
National studios. 

("Vice upon a time nearly all the popu- 
lar stars had their fan mail 
addressed c/o Vitagraph studios and 
history seems to be repeating itself 
these days with Nazimova, and Warren 
Kerrigan, Aileen Pringle and now Mae 
Marsh, who is playing lead in The 
Garden of Charity. This is a story of 
New England life, the exteriors of 
which are to be made near La Jolla, 



South California, where the rugged line 
of coast looks exactly like the rocky 
New England shores, but boasts about 
ten times the amount of sunshine. 

[ ubitsch, whose Forbidden Paradise, 
scored such a success at the London 
Pavilion, is back at Warner Bros, 
studios again, getting together his cast 
for a new satire. Marie Prevost and 
Clara Bow arc the leading ladies. 
Warner Bros, have some excellent 
features to their credit already and 
promise still better things during this 
year. Their output is catholic, ranging 
from filmed classics like The Lover of 
Camille (Debureau), to filmed novels 
such as The Dark Swan, A Lost Lady, 
and Recompense, whilst they are con- 
tinually adding new and popular stars 
to their permanent company. The 
latest of these are Bert Lytell and 
Helene Chadwick. 

/""Veil B. De Mille has practically 
decided to produce and supervise 
for the Producers Distributing Cor- 
poration of America, working at Culver 
City, in the studios of the late Thomas 
Ince. Rod La Rocque and Leatrice Joy 
who have personal contracts with De 
Mille, will be released by Paramount to 
fulfil them and will co-star in his first 
productions. 

Dack in the old Biograph days, Alan 
Hale was frequently chosen as 
leading man by J Farrell McDonald, a 
popular director, and incidentally the 
one who made the last Biograph film. 



Now they have completely reversed 
their positions for Hale has been 
directing McDonald opposite Shirley 
Mason in The Scarlet Honeymoon. 

r\ick Barthelmess's new film promises 
to be interesting. Titled Soul Fire, 
it is an adaptation of a play called Great 
Music and concerns a composer seeking 
inspiration for a great symphony. After 
adventures in Paris, Rome, and Egypt, 
he finds it in the South Seas. Dick will 
have three leading ladies, two of which 
are Bessie Love (South Seas episode), 
Carlotta Monterey (Rome and Paris). 
The heroine of the Egyptian sequence 
has not yet been chosen. 

P\espite Joseph Schenk's remarks in 
disparagement of costume films 
whilst he was in London, Norma Tal- 
madge's next is to be Graustark; a 
romantic story, in which Francis Bush- 
man and Beverley Payne scored an 
Essanay success some years ago. 

Daramount's earnings for 1924 are 
*■ estimated at 3,350,000 dollars, their 
highest for several years; so there is 
evidently plenty of life in the Movie 
Industry in U.S.A. 

f^onway Tearle is to make two films 
^ for Metro Goldwyn and went to the 
coast to commence the first directly his 
work in Barbara La Marr's Heart of a 
Temptress was completed. 

\7ictor McLaglen is in a Lon Chaney 
film. The Unholy Three, working 
with Matt Moore and Mac Busch. 



68 



Picture s and Pichjre $oer 



MARCH 1925 




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Glcb Dcrnjinsky at work on his portrait bust of Lillian Gish as a Renaissance 

la dy. 



[ ike Valentino, Tony Moreno returns 
■to his native land a rich, and 
famous man. Ten years ago he left 
Spain, penniless, to seek his fortune 
overseas. Tony will be working in 
Spain in Rex Ingram's Mare Nostrum, 
and will visit his mother as soon as he 
can be spared from the production. 

KTorma Shearer has joined the blondes. 
For her first dual role in Lady of 
the Night, she wears a fair wig for one 
character and her own brown hair for 
the other. Norma is about the busiest 
star in Hollywood these days, she's no 
sooner out of one movie than she's into 
another. 

IWIany fans wondered what had be- 
come of pretty Harriett Hammond, 
one of the bonniest of Mack Sennett's 
bathing belles. , She left comedy for 
small part roles in straight dramas and 
then suddenly dropped out altogether. 
Severe injuries to her spine owing to a 
premature dynamite explosion kept 
Harriett an invalid for two years. But 
she is coming back as the heroine of 
Man a)id !\faid, under Elinor Glyn's 
supervision, with Lew Cody as the man. 

[ ondon's newest and largest kinema, 
the Capitol, Haymarket, opened 
last month amid general acclamation. 
Like its American namesake, it offers 
a varied entertainment, comprising 
ballet, singing and films, which are 
shown without a screen, with appro- 
priately varied shafts of light thrown 
upon them and upon the auditorium. 
Music, seating accommodation, etc., 
are of the finest and most modern and 
there is to be a dance club, we hear, 
in the near future. Decidedly a welcome 
acquisition. 

ETsrelle Taylor is now Mrs. Jack 
Dempsey and will retire from screen 
work for good. 



"Tom Mix, accompanied by his wife 
and daughter, will visit Europe this 
year to celebrate his tenth year as a Fox 
star. Incidentally Tom has just re- 
newed his contract until 1928. 

D. T. Barnum, the amazing showman, 
will be seen on the screen this 
year, and Tom Meighan and Wallace 
Beery have been mentioned for the role. 
Monte Katterjohn, who has written the 
scenario, has spent months in Europe 
gathering data, and talking to men who 
knew and worked for Barnum. The 
picturesque American ought to be good 
for an interesting movie, his adventures 
began thirty yeans before the Civil 
War and continued until the eighteen- 
eighties, through the reigns of fourteen 
Presidents. 

YY/hilst the long, slender outline re- 
mains the fashionable one, and 
frocks cling closely to the figure, it is 
essential to have a corset which gives a 
good line. For this you cannot do 
better than go to Gossards of Regent 
Street, who specialise in these things. 
Every type of support, from girdles 
and brassieres, to reducing garments, 
can be obtained there, in a vefy com- 
prehensive range of styles and prices. 

I70R Permanent Waving Oil seems 
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A perfect and natural-looking wave, 
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Ray himself, and inspect the process, 
stigator claims, something better and 
which is something new, and. its in- 
more reliable than usual. Do you envy 
your pet film star's lovely permanent 
waves. You can have your own hair 
waved just like hers at Maison Ray. 



MARCH 1925 



Pictures and PictvreOuer 



m 




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70 



Pictures and P/cfrjre$oer 



MARCH 1925 



. '^U l-A 



■f 




Jackie Coogan. 



Norma Talmadgc. 



Harold Lloyd. 



Betty Compson. 



Ramon Sowrro. 



A 



s the fateful closing date 
draws ever nearer 
coupons are pouring in 
by thousands from every 
corner of the British Isles. The 
success of our great Popularity 
Contest is now established 
beyond the smallest shadow of 
doubt, and every picture fan is waiting 
eagerly for the judge's verdict to be 
delivered. 

The result of the competition will 
be announced in next month's 
PICTUREGOER, and then there will 
be jubilations in many film camps and 
Jcremiahads in others. But which 
ever way the majority vote goes you 
may be certain that the losing com- 
petitors will never desert their 
favourites, for the average film fan is 
undisputably the most faithful thing 
that ever happened. 



LJave you voted yet? Get busy wit 
pen and ink and coupon if vo 



ith 
pen and ink and coupon if you 
have neglected to register your views, 
for the competition will be over soon 
after these lines appear in print. 

The rules are perfectly simple and 
straightforward, there is no entrance 
fee of any description, and the large 
cash prizes must be won. Perhaps 
you will be one of the lucky ones. 

Norma Talmadgc, ''Bebe Daniels, 

Gloria Swamson, Betty Compson, Alice 

Terry, Ivor Novello, Ramon Novarro, 

> udolph Valentino, Harold Lloyd — 

n you pick the winners? Remember, 

decision rests with you and the 

i of the competitors because the 

tl, of popularity will be decided by 

uoritv vote. 



A 



n 



jinymous 

_. not worth 

: . 



reader, who is per- 
thc pas-sim 



£500 8Kft» 

Oe&t FreeVobng Competition 



March 7 is the closing date for this 

mammoth competition. Hurry up 

with your coupons if you have not 

already voted. 

reference, writes to suggest that mem- 
bers of the PICTUREGOER staff 
might get to know how the voting is 
progressing and give a tip to their 
friends at the last moment. 

Needless to say the suggestion is 
without foundation. The progress of 
the competition is known only to the 
editor and his judges, and the utmost 
secrecy will be observed until the last 
entry has been received and stamped. 
Competitors may rest assured that 
their treatment will be scrupulously 
fair. The judges have no decision to 
make for everything rests with our 
readers. Once the coupons arc 
registered and the votes counted and 
checked the result will be manifest. 

"""The prizes offered to readers in this 
great Popularity Contest are as 
follows : 

First Prize £250. Second Prize £100. 
Third Prize £50. Fourth Prize £25. 
Twenty-five prizes of £1, fifty prizes 
of 10s. and two hundred prizes 
of 2s. 6d. 

Don't think that you are too tired 
or too old to fill in the necessary 
coupons. One enthusiastic reader of 
the PICTUREGOER sends in her 




list with the remark that she 
has just filled in a coupon for 
her husband, aged eighty-six ! 
That information should put 
all laggard film fans to shame, 
and spur them on to register- 
ing their votes. 

Another interesting letter 
comes from a railway-signalman who 
works on a branch line where trains 
are few and far between. 

" I have been solacing the weary 
hours by endeavouring to analyse the 
chances of all the competitors," he 
writes. " and unless my reckoning is 
very far out I think I shall be able to 
forecast how the voting will go. 

" I am an intent film fan myself and 
most of my spare time is spent at the 
village kinema. We are somewhat off 
the beaten track, but we pride ourselves 
on getting some good pictures all the 
same." 

""Then there is another enthusiast who 
has been visiting a chain of 
kinemas and noting the various volume 
of applause that greets the appearance 
of individual artists. 

" The one snag," he writes, " is that 
some stars seem far more popular in 
one locality than another. I saw the 
same picture at two different kinemas. 
and at one it got a lukewarm reception 
whilst the second audience greeted it 
with thunderous applause. Still I am 
persevering, because I want to find out 
what the public wants. 

'" I know what I want well enough — 
that £250 prize that will go to the 
successful competitor in your great 
competition. T may not be the lucky 
one, but. believe me. it won't be for 
want of trying." 

March 7 is the closing date. 
Heed the warning and complete your 
coupons he tore it is too late. 

s 

41 



// 




Ivor Novello. 



Rudolph I'alenlino. 



Bebe Daniels. 



MARCH 1925 



Pictures and Pict\jre$uer 



71 




earn to Qjanee 

FREE 

Here is an opportunity of learning to dance the 
waltz under the tuition of Mr. Santos Casani, 
principal of the Casani School of Dancing 
and originator of many of the latest steps. 



Miss JosJ Lennard who specially 
Posed for the Twink dance lessons 



If you are keen on dancing, don't fail to take advantage of 
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Use Twink for dyeing your dance frocks and add to your 
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72 



Pictures end P/chjre$uer 



MARCH 1925 



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SMALL ADVERTISEMENTS 

Rate : 3d. per word ; minimum 3 shillings. 

64-PAGE BOOK ABOUT HERBS and How to 
Use them, 2d. Send for one. — Tnmnell, The 
Herbalist, Richmond, Cardiff. 

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ICTURE POSTCARD ALBUMS beautifully 

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Rcture&oers Guide 




Arabella, the Story of a Horse (IP', and 
F.; Mar. 16). 
Mae Marsh in an unusual type of 
melodrama woven around the life story 
of a racehorse. Directed by Karl Guine 
(who made The Street), the rest of the 
cast are Germans. Good entertainment. 

Bread (Jury-Metro-Goldwyn; Mar. 23). 
Modern comedy drama, with good 
domestic and business story and an 
unexpected climax. Excellent acting by 
Mae Busch, Robert Frazer, Wanda 
Hawley, Pat O'Malley, Hobart Bosworth, 
Eugenie Besserer, Myrtle Stedman, Ward 
Crane and Raymond Lee. 

Bubbles (Western Import; Mar. 23). 

Mary Anderson, Jack Mower and Jack 
Connolly in a fairly good light-comedy- 
romance about an irresponsible tomboy's 
adventures in boy's clothes. 

The Back Trail (European; Mar. 2). 

Western drama with Jack Hoxie as a 
man whose lost memory makes him the 
easy prey of a e^mbler. Supporting the 
star appear, Claude Payton, Eugenia 
Gilbert, Elton Stone, Buck Connors, Pat 
Harmon and Billy Lester. Fair enter- 
tainment. 

Blow Your Own Horn (Ward our; 
Mar. 2). 
Warner Baxter as a penniless war- 
veteran who has to learn the gentle art 
of self-advertisement before he can make 
good. Ralph Lewis, Derelys Perdue, 
Johnny Fox, Jnr., Eugenic Ford, Stan- 
hope Wheatcroft, Billy Osborne, and 
Dell Boone lend adequate support. Fair 
entertainment. 

Code of the Sea (Paramount; Mar. 23). 
An excellent sea story about a man 
cursed with an unreasoning fear of 
deserting his post. Rod la Rocque stars, 
with Jacqueline Logan, George Fawcett, 
Maurice Flynn, Luke Cosgrave and S3m 
Appell in support. 



The Common Law (Metro-Goldwvn- 
Jury; Mar. 16). 
A new edition of the Robert Chambers 
storv of an artist's model with Conway 
Tearle and Corinne Griffith this time 
instead of Conway Tearle and Clara. 
Kimball Young. Elliott Dexter, Bryant 
Washburn, Doris May, Harry Myers, 
Miss Du Pont, Hobart Bosworth, Phyllis 
Haver, Wally Van, and Dagmar Godow- 
sky complete a good cast. Fairly good 
drama of artist life. 

The Confidence Man (Paramount 
Mar. 2). 
Romance and regeneration and Thomas 
Meighan in one of his favourite crook 
characterisations. Supporting Tom are 
Virginia Valli, Laurence Wheat, Charles 
Dow Clark, Helen Lindroth, Dorothy 
Walters, George Nash and David 
Higgins. 

Cyclone Jones (Ducal; Mar. 2). 

A Western feud between cattle men 
and sheep men forms the background of 
this out-of-doors drama which stars Big 
Boy Williams, with Bill Pathon, J. P. 
McKree, Kathleen Collins, Fatty Alex- 
andria and Fred Burns in support. Fair 
cowboy drama. 

The Cyclone Rider (Fox; Mar. 11). 

Reed Forbes (the Arrow-collar-man) in 
a stunt melodrama that does not take 
itself very seriously. Plenty of thrills, 
quite a little humour, and a cast includ- 
ing Evelyn Brent. Alma Bennett, William 
Bailey, Ben Deeley, Charles Conklin, 
and Frank Beal. Good entertainment 

Dark Stairways (European; Mar. 9). 

Rapid action crook mystery-drama con- 
cerning an innocent cashier who had to 
turn crook to prove his innocence. The 
cast includes Herbert Rawlinson, Ruth 
Dwyer, Hayden Stevenson, Robert E 
Homans, Walter Perry, Bonnie Hill, 
Kathleen O'Connor and Dolores Rousse. 
Good mystery fare. 



MARCH 1925 



Picture s and Pichure poer 



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Rex ("Snowy") Baker (centre) in "The Empire Builders." 



Darwin Was Right (Fox; Mar. 2). 

,Max, Moritz, and Pep, three clever 
monkeys star in an amusing comedy in 
which a scientist, his valet and his 
secretary are believed to have reverted to 
type to prove Darwin's theory correct 
The human cast comprises Nell Brantley, 
George O'Hara, Stanley Blystone, Dan 
Mason, Lon Poff, Bud Jameson, Myrtle 
Sterling, Nora Cecil and David Kirby. 

The Devil's Partner (Pathe; Mar. 30). 

A melodrama with a North Canadian 
woodland setting concerning a pair of 
lovers and a heroic North West 
Mounted officer. Norma Shearer stars, 
supported by Henry Sedley, Edward F. 
Roseman, Charles E. Delaney, Stanley 
Walpole, and Andre Beaucare. Fair 
entertainment. 

The Diamond Man (Butchers; Mar. 22). 
Ultra-theatrical melodrama, based upon 
Edgar Wallace's serial, with a good cast 
comprising Arthur Wontner, Mary 
Odette, Gertrude McCoy, Reginald Fox, 
Philip Hewland and George Turner. 
Keep away if you're critical. 

The Empire Builders (Butcher; Mar. 9). 
Yet another melodrama, this time star- 
ring " Snowy " Baker and his horse 
"Boomerang" in a vigorous, if crude 
thriller of the South African veldt. Good 
stunts, fights and atmosphere. The sup- 
porting cast includes Margaret Landis 
Theodore Lorch, J. P. Lockney, Pinckney 
Harrison, and J. Austin. 

The Enemy Sex (Paramount; Mar. 9). 

A typical " jazz, and flapper " story of 
society and theatrical life with Betty 
Compson in her best role since The 
Miracle Man. Sheldon Lewis, Huntley 
Gordon. Dc Witt Jennings, Percy Mar- 
mont, Ed. Faust, Will H. Turner and 
Dot Farley comprise a good cast. Good, 
if somewhat sophisticated entertainment. 

The Fire Patrol (IV. & F.; Mar. 2). 

Thrills and throbs, including a fire at 
s*»a, two fights, a race, and a love story. 
Also a fine cast headed by Anna Q. Nils- 
son, Madge Bellamy, Helen Eddy, Jack 



Richardson and Spottiswoode Aitken. 
Read the story on page 35. 

Flirting With Love (Ass. First Nat.; 
Mar. 16). 
Colleen Moore and Conway Tearle in 
a stage story very well directed, mounted 
and acted, and having an original, semi- 
serious plot. Winifred Bryson, Frances 
Raymond, John Patrick, Al Roscoe, 
William Gould and Marga La Rubia sup- 
port the stars. Good entertainment. 

The Four - Flusher (Paramount; 
Mar. 30). 
Agnes Ayres and Antonio Moreno in 
an entertaining if unconvincing romantic 
melodrama of wilfully mistaken identity. 
Clarence Burton, E. H. Calvert, Jack 
Gardner, Pauline Paquette and Roscoe 
Karns complete the cast 

Getting Her Man (Western Import; 
Mar. 9). 
A rather conventional crook drama of 
the Secret Service with an Alaskan 
setting and a good denouement. Ora 
Carew and Jay Morley lead, with Arthur 
Wellington, Hal Stephens and Helen 
Howell in supporting roles. Fair enter- 
tainment. 

Gold Madness (Pathe; Mar. 2). 

A James Oliver Curwood story about 
the universal thirst for riches and how 
a wrong was avenged by fate. Guy Bates 
Post, Cleo Madison, Mitchell Lewis, and 
Grace D'Armond head the cast. Good 
entertainment. 

The Heart of a Texan (Gaumont; 
Mar. 5). 
Neal Hart, William Quinn, Hazel 
Maye, Sarah Bindlery, Ben Corbett, and 
Yakima Canutt in a thrill and action 
story of an abduction and the stratagem 
that defeated it. Good Western fare. 

It Is The Law (Fox; Mar. 9). 

A dramatic murder story with a 
startling and controversial finale. Excel- 
lent acting by Arthur Hohl, Mimi 
Palmicri. Byron Douglas, Florence 
Dixon, Olaf Hytten and Herbert Hayes. 



MARCH 1925 

Little Robinson Crusoe (Metro-Gold- 
wyn-Jury; Mar. 9). 
Jackie Coogan in an improbable but 
thoroughly pleasing comedy concerning 
the adventures of a small boy amongst 
cannibals. Tom Santschi, C. H. Wilson, 
Will Walling, Chief Daniel O'Brien. 
Noble Johnson, Bert Sprotte, and "Felix," 
appear in the supporting cast. 

Love and Sacrifice (Allied Artists; 
Mar. 23). 
A D. W. Griffith historical spectacle 
of the American Revolution combined 
with an ordinary love story and Paul 
Revere's ride. Some good pictorial 
effects and a competent cast. Acted 
by Carol Dempster and Lionel Barry- 
more. Others are Erville Alderson. 
Charles Emmett Mack, Lucille La Yerne, 
Arthur Dewey and Louis Wolheim. 

The Mask of Lopez (Pathe; Mar. 16). 

Melodrama of the prairie cattle thieves, 
starring Fred Thomson and his horse 
"Silver King" supported by Hazel 
Keener, Frank Hagney, Wilfred Lucas, 
David Kirby, Dot Farley, Pee Wee 
Holmes, Bob Reeves and Dick Suther- 
land. Good adventure stuff. 

Monsieur Beaucaire (Paramount- 
Mar. 30). 
This month's high-spot- Don't miss it. 
A beautifully produced and mounted 
screen version of the romantic story of 
the French Prince who masqueraded as 
a barber. Rudolph Yalentino heads the 
long cast which includes Doris Kenyon, 
Bebe Daniels, Lois Wilson, Lowell 
Sherman, Paulette Du Yal, John David- 
son, Ian Maclaren and Frank Shannon. 

The Moral Sinner (Paramount ; Mar. 
16). 
A film version of " Leah Kleshna," the 
favourite drama of a girl thief who 
reforms with Dorothy Dalton as its star, 
supported by James Rennie, Alphonse 
Ethier, Frederick Lewis, W. J. Percival. 
Paul McAllister and Florence Fair. 

Oh, You Tony! (Fox; Mar. 23). 

Tom Mix as a Western graduate of a 
school of etiquette, causing interesting 
complications when he introduces his 
cowboys to society ways. Stunts well to 
the fore as usual. Claire Adams, R. La 
Reno, Earle Foxe, Dolores Rousse, 
Charles K. French, and " Tony " also 
appear. An excellent Westerner. 

On Time (Unity; Mar. 4). 

Dick Talmadge in a fantastic and 
funny melodrama with all the usual Dick 
Talmadge stunts and thrills. Billie Dove. 
George Siegman, Stuart Holmes, Charles 
Clary, Tom Wilson and Douglas Gerard 
support the star. 

The Oppressed (Paramount; Mar. 19). 

A French costume romance set in the 
Flander of 1572, well played and 
convincingly presented. Racquel Meller is 
the featured player. The cast also in- 
cludes Andre Roanne, Albert Bras, M. 
Schultz, Marcel Vibert and Mdme. Vois. 

Outlaws of the Rio Grande (Wardour; 
Mar. 16). 
Another Western story of Texas 
Rangers with a sensational fight and 
some fine horsemanship to recommend it, 
also Jack Periss, Peggy O'Day, Alfred 
Hewston, S. J. Bingham, Horace Car- 
penter, Milburn Morante and David 
Dunbar. Good entertainment. 

(Continued on page 76). 



MARCH 1925 



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76 



Pictures and Pichurepver 



MARCH 1925 



MY TRIP ABROAD 

{Continued from page 22.) 

I listened with modestly inclined 
head to the plaudits and ringing 
hosannas of at least one-half the 
known world. In my more sentimental 
visions 1 saw myself twined about with 
white and gracious and also grateful 
arms, pelted with roses and crowned 
with laurel placed upon my heroic 
brow by a pair of lily white hands. I 
had a gorgeous time, but I can't say 
that my teachers and my family 
entirely appreciated this phase of my 
career. 

I was so engrossed with these Her- 
culean visions that I had little or no 
time for the mundane studies of every 
day. They seemed so dull, so pale and 
futile by contrast. I simply couldn't 
strip my mind of the glittering colours 
and the clash of steel and the drop of 
roses in which I lived, to conjugate 
verbs or to apply myself to any rule 
of three. I became a steady candidate 
for the dunce's cap ! They supposed 
I was merely a very stupid boy and I 
couldn't of course, break the box of 
myrrh at their uncomprehending feet. 
Then they would have thought me 
worse than dull, if there be anything 
worse — crazy would have been the 
conclusion. 

I eventually got my punishment. 

■"There came the thrilling day when 
the king was scheduled to visit the 
town. The announcement of this 
great event brought me out of my 
visions and dreams with a smart snap. 
For after all, visionary deeds and 
imaginary valour are one thing, but on 
the other hand a real king is a real 
king, and not to be mused over. Be- 
sides, all Italians have a real deep and 
profound love and admiration for 
Vittorio Emanuelo, no dreamed of 
figure than which is considered finer. 
He is veritably father to his people 
and the lovely Queen Elena the first 
in the land to rush to the aid of dis- 
tressed or stricken subjects. 

I was, I suppose, too evident in my 
joy at seeing. I showed signs of 
animation and interest in the world 
about me, and it was considered that 
this would be a fitting occasion on 
which to bring me to my wandering 
senses. Nothing else had been of any 
avail. The ordinary threats, ominous 
hints and curriculum punishments had 
simply skidded off the glittering sur- 
face of the world in which I lived and 
had my actual being. Even as to-day. 
in pictures I have lived and had my 
actual being in the characters I have 
played. I was laying the cornerstone 
for this aptitude even then, but, of 
course, they couldn't know that and 
wouldn't have cared, more than likely, 
if they had ! 

However, on the day of the king's 
arrival I was stripped to my under- 
clothing and left in the dormitory. 
That was punishment. That was to 
show me how a stupid and refractory 



boy was treated. My clothes had been 
entirely removed by way of an extra 
precaution. Who could tell what I 
might do? 

Who indeed? 

I was far too inflamed by desire for 
this real contact with a real figure of 
achievement to be stopped by bolts and 
bars or by the lack of garments. So 
soon as my captors had departed to see 
the king, I broke out of my captivity, 
scrimmaged about until I found a stray 
uniform several sizes too large, a hat 
and a sword of correspondingly plenti- 
ful proportions, and then made a dash 
for the stables. The good and worthy 
students had made use of all the good 
horses, and the sole remaining steed 
was a mangy little donkey who, like 
myself, had been left behind to catch 
not so much as, the receding hoof-beats 
of his king. Well, I should fide forth 
on an ass ! 

I strode this humble steed and gal- 
loped lumpily away, my hat riding my 
nose, my huge sword hitting the 
ground, but undaunted none the less, 
and making good use of my accus- 
tomed dreams of myself to imagine 
that I was the dashing figure I would 
have liked to be. I muttered " For 
King and Country!" and with this 
valiant phrase ringing in my ears, 
urged my recalcitrant steed onward. 

And thus I saw my King pass by. 

The next day I was sent home to 
mother. Even more ignominious!}' 
than I had sent myself forth to see my 
sovereign. 

Needless to state, my poor mother 
could not be made to see the high and 
lofty and laudable motive back of my 
misdemeanour. It simply smacked of 
another stupid prank to her, a defiance 
without grace. It was at this time 
that I was sent off to the Collegio della 
Sapienza, a military school for the 
sons of doctors. 

It was called " a college of savants," 
though what optimist or liar gave it 
that name I cannot imagine. For I 
was surely not a savant when I went 
in and I was just as surely not a savant 
when I came out. 

By this time I had arrived at the 
mature age of fifteen and had dis- 
covered in myself, an overweening 
desire to become a Cavalry officer. The 
position of an Italian cavalry officer 
is an enviable and a fine one. They 
wear almost the most . gongeous 
uniforms in the world, a part of which 
is the dashing blue cape so much and 
so obviously admired by the fairer sex. 
But with all of those advantages to be 
attained it also costs a great deal of 
money, and while my father had left 
a fairly" substantial amount of money 
it had become somewhat lessened in 
the years after his death, and my 
mother explained to me that there was 
really not enough to allow me to 
realise this great ambition, not without 
pinching and sacrifice to the rest of 
the family, and that I wouldn't have 
had at any cost. 

{Another long instalment next month). 



PICTUREGOER'S GUIDE 

{Continued from page 74.) 

Pagan Passions (IVardour; Mar. 23). 

Exotic melodrama, complex as to plot, 
which treats of vice and sacrifice in 
China and Malay. Well played by June 
Elvidge, Rosemary Theby, Wyndham 
Standing, Barbara Bedford, Raymond 
McKee, Sam De Grasse, Tully Marshal!. 
Good of its type. 

Pity the Poor Chorus Girl? (F. B. 0.; 
Mar. 23). 
A chorus-girl comedy, which gives a 
new point to an ancient plot. Excellent 
sub-titles and a good cast comprising 
Helene Chadwick, Mary Thurman, 
Gaston Glass, Basil Rathbone, Zena 
Keep, Tyrone Power, Jane Jennings and 
Esther Banks. Bright entertainment. 

The Red Lily {Metro-Coldzcvn-Jury; 
Mar. 2). 
Very strong drama of the underworld 
in which love finally and conventionally 
conquers vice. Ramon Nbvarro and 
Enid Bennett are the stars, with Wallace 
Beery, Mitchell Lewis, Rosemary Theby, 
Frank Currier, Gibson Gowland, Dick 
Sutherland and Emily Fitzroy in support 

The Rose of Paris {European; Mar. 30). 
Mary Philbin as a little girl from a 
convent who is suddenly plunged into the 
rough realities of -life in a Paris cafe. 
Robert Cain, John Sainpolis, Rose Dione. 
Dorothy Revier, Frank Currier and 
Cesare Gravina also appear. Good 
melodramatic fare. 

The Sawdust Trail {European; Mar. 23). 
Hoot Gibson in a story of circus life 
in which there is some good stunt riding 
and motoring by all concerned. Josie 
Sedgwick opposite, also David Torrence. 
Charles French, W. T. McCulley, Pat 
Harmon. 

A Self-Made Failure {Ass. First Nat.; 
Mar. 2). 
The story of a tramp and his youthful 
pal, who make good in a village despite 
local antipathies. All star cast includes 
Ben Alexander. Lloyd Hamilton. Matt 
Moore, Patsy Ruth Miller. Mary Carr, 
Sam De Grasse, Chuck Riesner, Victor 
Potel, Alta Allan, Priscilla Dean Moran 
and " Cameo." Good entertainment. 

The Speed Spook (F. B. O.; Mar. 16). 

Johnny Hines, Faire Binney, Warner 
Richmond, Frank Lowe, Edmund Breese 
and Henry West in a motor racing 
comedy of many thrills. Good enter- 
tainment 

Tarnish {Ass. First Nat.; Mar. 9). 

Forceful drama blended with very 
sophisticated comedy in this somewhat 
daring story of wild oats. Excellent 
characterisation by Albert Gran, M3\- 
McAvoy, Ronald Colman, Marie Prevost, 
Priscilla Bonner, Harry Myers, M. Riess 
Whytal, Snitz Edwards and Norman 
Kerry. 

What The Butler Saw {Gaumont; Mar. 
16). 

British and American players in the 
well known farce about the needv 
nobleman who turned his house into a 
hvdro. Well played by Irene Rich, Guy 
Newall, A. B. Iraeson, Pauline Garon, 
A. Bromley Davenport Drusilla Wills. 
Charles Morton York and Hilda 
Anthony. Fair entertainment. 



MARCH 1925 

THE ETERNAL COWBOY 

(Continued from page 55.) 

Selig Studkjs. Hut that u.is only 
small stuii. When the war started I 
offered my services to the French 
Government, who were buydng horses 

in Chicago, and they set me the task of 
breaking them in. In 1°10 1 went 
over to France in charge of a load of 
horses, and l worked for a while in 
the remount camp. Then 1 was 
orderly to a French General, did some 
Hying, and finally trained officers for 
the French Cavalry. 

At the end of the war when I went 
back to the States, Fox signed me on 
a starring contract, and I've been in 
pictures ever since.'' 

" What was your first starring 
role?" I asked. 

" In The Last Straw," he laughed 
reminiscently, " Gee, I was scared stiff 
at the idea of becoming a star, just 
at first." 

Since then he has played in so many 
that it is difficult to remember them 
all. Among the mos.t important are : 
Riders of the Purple Sage, One Man 
Trail, To A Finish, Bar Nothing, 
Riding With Death, Pardon My 
Nerve, Western Speed, Rough Shod, 
The Fast Mail, Trooper O'Neill, West 
of Chicago, Bells of St. Juan, Boss of 
Camp 4, Footlight Ranger, Not a 
Drum Was Heard, and Cupid's 
Fireman. In the last-named picture, 
Buck has a fairly dramatic role, that 
differs rather from his usual type of 
film portrayal. 

I asked him how he liked donning 
a fireman's uniform in place of his 
own cowboy attire. 

" A change is good for everybody, 
once in a while," he told me, " But I 
must confess I feel more at home in 
cowboy get-up than anything. You 
see I've always had a kind of affection 
for the ' Wild West,' and it is the 
opportunity of portraying the real, 
typical Westerner that appeals to me 
as much as anything in screen work." 

As I said good-bye to Buck at the 
door, later — he sped me on my way 
with a hearty handshake that made 
my arm tingle for minutes afterwards 
— I noticed a broad-hatted individual 
whose face seemed vaguely familiar, 
coming up the Avenue towards us. The 
two men greeted each other boister- 
ously, and when I looked back they 
were both disappearing round the 
corner in the direction of the stables. 

It was only then that I realised that 
the visitor was no other than Tom 
Mix, and I remembered that the two 
men are great friends. The other day 
Buck was on the set watching his 
friend making a scene for Dick 
Turpin, and the sudden whim seized 
him to don make-up and put in some 
work as an extra. 

So if you look very carefully when 
the film is shown, you will no doubt be 
able to recognise Buck's smiling visage 
somewhere in the background. 



Pictures ar\d Pict\jre$ver 



77 



RAMOS NO] IBBO, Metro SI,,T,,ayi: 

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78 



Picture s and Picture poer 



MARCH 1925 



MERTON OF THE MOVIES 

{Continued from page 17.) 

through the iron loops in place of the 
missing bar. The wolves ought to push 
open the door, but Ralph's arm foiled 
them. 

Then the outside of the cabin was 
shown, with Black Steve and his three 
ugly companions furtively approaching. 
The wolves had gone, but human wolves, 
ten thousand times more cruel, had come 
in their place. Back in the cabin Ralph 
and Hortense discovered that the wolves 
had gone. It had an ugly look. Why 
should the wolves go? Ralph opened 
the door and they both peered out. There 
in the shadow of a eucalyptus tree stood 
Black Steve and his dastardly crew. 
They were about to storm the cabin. All 
was undoubtedly lost. 

Not until the following week would the 
world learn how Hortense and her manly 
fiance has escaped this trap. Again had 
Beulah Baxter striven and suffered to 
give the public something better and 
finer. 

" A wonder girl," declared Merton 
when they were again in the open. 
" That's what I call her — a wonder girl. 
And she owes it all to hard, unceasing 
struggle and work and pains and being 
careful. You ought to read that new 
interview with her in this month's Silver 
Screenings." 

" Yes, yes, she's wonderful," assented 
Tessie as they strolled to the door of her 
shop. " But I've been thinking about 
comedy. You know my new one I'm 
writing — of course it's a big, vital theme, 



all about a heartless wife with her mind 
wholly on society and bridge clubs and 
dancing and that sort of dissipation, and 
her husband is Hubert Glendenning, a 
studious young lawyer who doesn't like 
to go out evenings but would rather play 
with the kiddies a bit after their mother 
has gone to a party, or read over some 
legal documents in the library, which is 
very beautifully furnished; and her old 
school friend, Corona Bartlett, comes to 
stay at the house, a very voluptuous type, 
high coloured, with black hair and lots 
of turquoise jewellery, and she's a bad 
woman through and through, and been 
divorced and everything by a man whose 
heart she broke, and she's become a mere 
adventuress with a secret vice — she takes 
perfume in her tea, like I saw that one 
did — and all her evil instincts are aroused 
at once by Hubert, who doesn't really 
care deeply for her, as she has only a 
surface appeal of mere sensuous beauty: 
but he sees that his wife is neglecting 
him and having an affair with an Italian 
count — I found such a good name for 
him, Count Ravioli — and staying out with 
him until all hours; so in a moment of 
weakness he gives himself to Corona 
Bartlett, and then sees that he must 
break up his home and get a divorce and 
marry Corona to make an honest woman 
of her; but of course his wife is brought 
to her senses, so she sees that she has 
been in the wrong and has a big scene 
with Corona in which she scorns her 
and Corona slinks away, and she forgives 
Hubert his one false step because it was 
her fault. It's full of big situations, but 
what I'm wondering — I'm wondering if 
I couldn't risk some comedy in it by 




TtOO'Gnn 

Bcnfon." 



having the faithful old butler a cross- 
eyed man. Nothing so outrageous as 
that creature we just saw, but still 
noticeably cross-eyed. Do you think it 
would lighten some of the grimmer 
scenes, perhaps, and wouldn't it be good 
pathos to have the butler aware of his 
infirmity and knowing the greatest 
surgeons in the world can't help him?" 

" Well," Merton considered, " if I were 
you I shouldn't chance it. It would be 
mere acrobatic humour. And why do 
you want anyone to be funny when you 
have a big gripping thing of love and hate 
like that? I don't believe I'd have him 
cross-eyed. I'd have him elderly and 
simple and dignified. And you don't 
want your audience to laugh, do you, 
when he holds up both hands to show 
how shocked he is at the way things are 
going on in that house?" 

" Well, maybe I won't then. It was 
just a thought. I believe you have the 
right instinct in those matters, Merton. 
I'll leave him as he is." 

" Good night, then," said Merton. " I 
got to be on the lot to-morrow. My 
camera man's coming at two. Shooting 
some Western stuff." 

"Oh, my! Really?" 

Tessie gazed after him admiringly. He 
let himself into the dark store, so lately 
the scene of his torment, and on the way 
to his little room stopped to reach under 
the grocery counter for those hidden 
savings. To-night he would add to them 
the fifteen dollars lavished upon him by 
Gashwiler at the close of a week's toil. 
The money was in a tobacco pouch. He 
lighted the lamp on his table, placed the 
three new bills beside it and drew out 
the hoard. He would count it to con- 
firm his memory of the grand total. 

The bills were frayed, lacking the 
fresh green of new ones ; weary looking, 
with an air of being glad to rest at last 
after much passing from hand to hand 
as symbols of wealth. Their exalted 
present owner tenderly smoothed out 
several that had become crumpled, 
secured them in a neat pile, adding the 
three recently-acquired five-dollar bills, 
and proceeded to count, moistening the 
ends of a thumb and finger in defiance 
of the best sanitary teaching. It was 
no time to think of malignant bacteria. 

By his remembered count he should 
now be possessed of two hundred and 
twelve dollars. And there was the two- 
dollar bill, a limp, grey thing, abraded 
almost beyond identification. He placed 
this down first, knowing; that the remain- 
ing bills should amount to two hundred 
and ten dollars. Slowlv he counted, to 
finish with a look of blank, hesitating 
wonder. He made another count, hastily, 
but taking greater care. The wonder 
grew. Again he counted, slowly this 
time, so that there could he no doubt. 
And now he knew ! He possessed thirty- 
three dollars more than he had thought. 
Knowing this was right, he counted again 
for the luxurv of it. Two hundred and 
forty-five obvious dollars ! 

How had he lost count? He tried to 
recall. He could remember taking out 
the money he had paid Lowell Hardy for 
the last batch of Clifford Armytage stills 
— for Lowell, although making profes- 
sional rates to Merton, still believed the 
artist to be worth his hire — and he could 
remember taking some more out to send 
to the mail-order house in Chicago for 
the cowboy things ; but it was plain that 
he had twice, at least, crowded a week's 
salary into the pouch and forgotten it. 

It was a pleasurable experience; it was 



MARCH 1925 

like finding thirty-three dollars. And he 
was by that much nearer to his goal; 
that much sooner would he be released 
from bondage; thirty-three dollars 
sooner could he look Gashwiler in the 
eye and say what he thought of him and 
his emporium. In his nightly prayer he 
did not neglect to render thanks for this 
He dressed the next morning with a 
new elation. He must be more careful 
about keeping tab on his money, but also 
it was wonderful to tind more than you 
expected. He left the store-room that 
reeked of kerosene and (>assed into the 
emporium to replace his treasure in its 
hiding-place. The big room was dusky 
behind the drawn front curtains, but all 
the smells were there : the smell of 
ground coffee and spices at the grocery 
counter; farther on, the smothering smell 
of prints and woollens and new leather. 

Pe dummies, waiting down by the 
door to be put outside, regarded each 
other in blank solemnity. A few big 
flies droned lazily about their still forms. 
Merton eyed the dusty floor, the gleam- 
ing counters, the curtains that shielded 
the shelves, with a new disdain. Sooner 
than he had thought he would bid them 
a last farewell. And to-day, at least, 
he was free of them — free to be on the 
lot at two, to shoot Western stuff. Let 
to-morrow, with its old round of degrad- 
ing tasks, take care of itself. 

At 10.30 he was in church. He was 
not as attentive to the sermon as he 
should have been, for it now occurred to 
him that he had no stills of himself in 
the garb of a clergyman. This was 
worth considering, because he was not 
going to be one of those one-part actors. 
He would have a wide range of roles. 
He would be able to play anything. He 
wondered how the Rev. Otto Carmichael 
would take the request for a brief loan 
of one of his pulpit suits. Perhaps he 
was not so old as he looked ; perhaps he 
might remember that he, too, had once 
been young and fired with high ideals. 
It would be worth trying. And the 
things could be returned after a brief 
studio session with Lowell Hardy. 

He saw himself cast in such a part, the 
handsome young clergyman, exponent of 
a muscular Christianity. He comes to 
the toughest cattle town in all the great 
South-west, determined to make honest 
men and good women of its sinning 
derelicts. He wins the hearts of these 
rugged but misguided souls. Though at 
first they treat him rough, they learn to 
resnect him, and they call him the fight- 
ing parson. Eventually he wins the hand 
in marriage of the youngest of the dance- 
hall denizens, a sweet young girl who 
despite her evil surroundings has 
remained as pure and good as she is 
beautiful. 

Anyway, if he had those clothes for an 
hour or two while the artist made a few 
studies of him he would have something 
else to show directors in search of fresh 
talent. 

After church he ate a lonely meal 
served by Metta Judson at the Gashwiler 
residence. The Gashwilers were on their 
accustomed Sabbath visit to the distant 
farm of Mrs. Gashwiler's father. But 
as he ate he became conscious that the 
Gashwiler influence was not wholly with- 
drawn. From above the mantel he was 
sternly regarded by a tinted enlargement 
of his employer's face entitled Photo- 
graphic Study, by Lowell Hardy. Lowell 
never took photographs merely. He made 



Pictures and Pic t\j reaver 



photographic studies, .md die specimen •'< 

hand was one oi bis must dating rllorts. 
Merton glared at it in tree hostility — a 
Clod, with ideals as l.iUc as (lie artist's 
pink on his leathery cheeks I lie hurried 
bis meal, glad to be relieved I rum the 

inimical scrutiny. 

He was riad to be tree from this Utd 
from the determined recital by Mett.i 
Judson of small town happenings What 
eared be that Gus GiddtngS had been 

lined ten dollars and costs by Sc|iiirc 

Belcher tor his low escapade, or that 

Gus's father had sworn to lick him within 
au inch of bis life it be ever ketched him 
touching stimmilints again? 

He went to the barn, climbed to the 

hayloft, and undid tin- bundle containing 

his Buck Benson outfit. This was fresh 
from the mail-order house in Chit 
He took out almost reverently a pair of 
high-heeled boots, with purple tops, u 
pair of spurs, a gay shirt, a gayer necker- 
chief, a broad-brimmed hat, a leather 
holster, and — most impressive of all — 
a pair of goatskin chaps dyed a violent 
maroon. All these he excitedly donned, 
the spurs last. Then he clambered down 
the ladder from the loft, somewhat im- 
peded by the spurs and went into the 
kitchen. Motta Judson, washing dishes, 
gave a little cry of alarm. Nothing like 
this had ever before invaded the Gashwiler 
home by front door or back. 

" Why, Mert' Gill, whatever you 
dressed up like that for? My stars, you 
look like a cowboy or something ! Well, 
I must say!" 

" Say, Metta, do me a favour. I want 
to see how these things look in a glass. 
It's a cowboy outfit for when I play 
regular Buck Benson parts, and every- 
thing's got to be just so or the audience 
writes to the magazines about it and 
makes fun of you." 

"/"^o ahead," said Metta. ' s You can git a 
^>-* fine look at yourself in the tall glass 
in the old lady's bedroom." 

Forthwith he went, profaning a sanc- 
tuary, to survey himself in a glass that 
had never reflected anything but the dis- 
creet arraying of his employer's lady 
He looked long and earnestly. The 
effect was qjitc all he had hoped. He 
"lowered the front of the broad-brimmed 
hat the least bit, tightened his belt 
another notch and moved the holster to 
a better line. He looked again. From 
feet to head he was perfect. 

Then, slightly crouching, he drew his 
revolver from the holster and held it 
forward from the hip, wrist and forearm 
rigidly straight. 

"Throw up your hands!" 

He uttered the grim words in a low 
tone, but one facing him would not have 
been deceived by low tones. Steely-eyed, 
grim of face, relentless in all his bearing, 
the most desperate adversary would have 
quailed. Probably even Gashwiler him- 
self would have quailed. When Buck 
Benson looked and spoke thus he 
meant it. 

He held it a long, breathless moment 
before relaxing. Then he tiptoed softly 
from the hallowed confines of a good 
woman's boudoir and clattered down the 
back stairs to the kitchen. He was 
thinking, " I certainly got to get me 
another gun if I'm ever going to do 
Two-Gun Benson parts, and I got to get 
the draw down better. I ain't quick 
enough yet." 

(To be continued). 




JLa%sJlodern 
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By PHILIP II. MASON 

Author o/ Face Mintage." "The Hair." 

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COMPLEXION 
How to Make Clear 
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Maaa&ffe Illustra- 
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HOW to CORRECT 
Lines and Wrinkles 
Greasy Skin 
Dry, Rough Skin 
Too High Colour 
Freckles and Stains 
Moles and Warts 
Enlarged Pores 
Thin Face and Neck 
Fat Face. Double Chin 



HAIR 
To Immsi- Growth 
To Make Lustrous anil 

give Natural Colour 
To Remove Greyness 
To Slop Hair-F.ill 
To Cur.- Soirf 

WASHING and the 
BATH 
What Soap to L'se 
How to Soften Water 

HANDS 
To Make Soft & White 
Man nun- .Irsc rjtwd 

EYES. LASHES and 

BROWS 
To Increase their Beauty 



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PHILIP H. MASON 

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Picture s and Pi chare $ver 



MARCH 1925 




H. W. (Whitehaven). — Letter for- 
warded. Glad PICTUREGOER meets 
with your approval. 

Apple Blossom (West Norwood). — 
Sorry to hear your thwarted curiosity 
gives you sleepless nights. I hope this 
letter will take the place of a sleeping 
draught. (1) Ramon Novarro has been 
doing film work for three or four years. 
(2) That's just a question of taste isn't 
it? However much you dislike Jackie 
Coogan you must admit that he's a clever 
little actor. (3) Art plate of Ramon 
appeared in January 1924 PICTURE- 
GOER. (4) I don't see why Conway 
Tearle should smile if he doesn't see any- 
thing to smile at. After all, a film actor 
labours under conditions less conducive 
to laughter than his brother of the legiti- 
mate stage — he can't see his audience ! 

P. M. G. (Birmingham). — Letter for- 
warded to Norma Talmadge. Hope 
you'll get that signed photo. 

Ralph Raver (Kingston). — (1) Get out 
your handkerchief while I break the sad 
news — Ralph Forbes has just married a 
Broadway favourite in New York, where 
he has been playing in several stage pro- 
ductions. (2) He hasn't left any address 
so I'm afraid I can't forward any letters 
until he either comes home or sends mc 
news of his whereabouts. (3) Betty 
Balfour is hard at work upon a screen 
version of H. de Vere Stacpool's novel 
" Satan's Sister," so you will be able to 
see her on the screen again soon. 

Theodora (?) — (1) Ivor Novello is 5 ft. 
11 ins. in height. (2) Can't tell you when 
he is going to film The Rat because he 
doesn't know, himself, yet. (2) The 
rumour that Ivor is engaged to Gladys 
Cooper is only a rumour, and a defunct 
one at that. (3) Enid Bennett was "Maid 
Marian " in Robin Hood. 

Mollif. (Birmingham). — So you're one 
of the film fans who think they aren't! 
(1) Strange as it may seem in a fiim star, 
Betty Compson has never been married 
before her recent matrimonial venture 
with James Cruzc. (2) Jack Ruchanan is 
about thirty-eight. (3) Conrad Nagel 
was born in 18°7. Write again when 
you like, Molly. 



Ordi Cpreyye 
Jay JKof/ey 



M. P. S. (Northampton). — My patience 
is as unlimited as the curiosity of you 
fans — and that's saying something ! (1) 
John Bowers was the hero in The 
Destroying Angel. 

Jack (Croydon). — If you've only just 
woken up to the fact that you want those 
casts you'd better go to sleep again and 
dream you've got them. I may be 
ancient, but I'm not Methusaleh ! 

Phyllis (Shoreham). — (1) Ramon 
Novarro's mother shuns publicity, so I"m 
afraid I can't let you have her photo in 
THE PICTUREGOER. (2) Ramon's 
favourite colour is blue, of the same deep 
shade that distinguishes the sky in his 
birthplace, Mexico. His address is c/o 
Metro-Goldwyn-Mayer Studies, Culver 
City, California. (3) Art plates of Alice 
Terry appeared in January 1924 and 
July 1922 PICTUREGOER. 

B. G. (Windsor). — (1) Send a stamped 
addressed envelope if you want an 
answer by post. (2) If you send me your 
letters to films stars in plain, stamped 
envelopes, I'll forward them to the right 
addresses. 

Clover (Glasgow). — (1) Your letter is 
now at the tender mercy of the G.P.O. 
Your simple faith in me touches me to 
the heart. 

J. B. (Bristol).— (1) Dennis Eadie has 
appeared in one film — Disraeli, produced 
in 1917. (2) The name of the baby in 
Comin' Thro' the Rye isn't given in tin- 
cast. Hepworth's might be able to tell 
you who she is. (3) Mabel Ballin was 
"Lady Isobel " and Edward Earlc "Mr. 
Carlyie 1 " in East Lynnc. 

Victoria (London). — Thanks for writ- 
ing to me on your best notepaper. I 
appreciate the honour, if the colour does 
rather hit me in the eye at first glance. 
(1) There's certainly no truth in the 
rumour that Rex Ingram is going to 
divorce Alice Terry because she's bobbed 
her hair. What will you fans get hold 
of next. (2) " The adorable Roman," 
was born in Druango, Mexico. (3) Alice 
Terry's real name is Taafe. She has 
blue-grey eyes and fair hair of an auburn 
shade. I haven't been over with a tape 
measure. (4) Usually the stars' 

secretaries answer their letters, unless 



they are of a very personal nature. (5) 
I've forwarded your letters. 

Moonyee.n (Ascot). — Glad to hear from 
you again. I've passed your letter on to 
the " Thinker." (1) Ricardo Cortez was 
born in Alsace Lorraine. He's 6 ft. 1 in. 
in height, has black hair and brown eyes 
and isn't married yet Some of his films 
are Hotlyzcood, The Gentleman from 
America, Children of Jazz, The Call of 
the Canyon, The Next Corner, and A 
Society Scandal. His most recent 
pictures are Argentine Love and The 
Swan, neither of which have been shown 
this side yet. (2) Norma Talmadge's latest 
finished production is The Lady. She is 
now at work on The Woman and the 
dozen and her next will be Two Women 
(3) She will probably come to England 
some time during the year. 

Elsie (London). — Glad to hear vour 
good opinion of PICTUREGOER. Yes, 
I think the actor you speak of did very 
good work in that film. 

Tino (Yorkshire). — Letter forwarded 
with my usual amiability. (1) So far as 
I know Rudy has never been to Harro- 
gate. (2) Colleen Moore was -born 
August 19th, 1900. 

Madelino (Wallasey). — (1) An inter- 
view with Tony Moreno appeared in Mav 
1921 PICTUREGOER. An art plate 
appeared in March 1922 issue. I'll do my 
best to get you another later on. (2) 
Tony is 5 ft 10 ins. in height. (3) I've 
forwarded all your letters. (4) Thanks 
for your suggestion, but it's too late to 
think about getting re-christened now. 

Dolores (Guildford). — Letter for- 
warded to Pauline Frederick. 

Bobbed (London). — (1) Matheson Lang 
was born Mav 15th, 1879, and is married 
to Hutin Britton. (2) Matheson is about 
6 ft in height and he has grey eyes and 
dark brown hair. (3) An interview with 
him appeared in May 1923 PICTURE- 
GOER and an art plate in February 1924 
issue. (4) You'll have to wait a long 
time before my blushing dial adorns the 
PICTUREGOER. 

Musical (Stoke Newington). — Your 
thanks have been duly earned. Hope the 
result comes up to expectations. 

John M. (Glasgow). — I've passed on 
your carol with the usual recommenda- 
tion to mercy. Thanks for your 
questionless letter — I knew before look- 
ing at your signature that you were a 
member of my own exalted sex. Shake! 

Betty. — The deed is done. You mav 
now transfer your attention to the 
postman. 

The Mistake (Seaford).— (1) Rod La 
Rocque was born in Chicago -Nov. 29th, 
1898, and he has brown hair and black 
eyes. (2) He isn't married yet and 
neither is Charles de Roche. (3) Mar- 
garet Leahy has retired from the screen, 
and has married a man in Los Angeles, 
where she is now living. (4) Richard 
Dix was born 1894 at St. Pauls. Minne- 
sota. (5) The camera that can do my 
particular style of beauty justice has yet 
to he invented. 

Pat (Kingston). — Sorry you've had to 
wait, but you have to take your turn, you 
know. (1) Dante's Inferno has been 
shown in London at the Empire Theatre, 
but it isn't released yet. (2) Mary 
Odette's latest was Not For Sale. Her 
next release will be The Diamond Man. 

1. R. (Southend).— (1) Lillian Gish was 
born October 14th, 1896 at Springfield, 
Ohio. (2) No, she isn't married, so 
there's no need to seek an early grave. 



MARCH 1925 



Picture s ar\ d Pi ct\jre pver 



HI 



Peggy (Norwich). — Pleased to meet 
you, Peggy. (1) A list of all the famous 
screen people who've been in London 
lately is. rather a tall order, but I'll do 
my best for you. Joe Schenck (Norma 
Talmadge's husband), Eddie Polo, Charles 
de Roche, Eva Novak, Rod La Rocque 
and John Barrymore have been cur most 
recent visitors. The last-mentioned has 
n keeping very quiet, and is going to 
in the stage version of Hamlet some- 
time in the near future 

Pop (Dulwich). — Glad you find 
I'll TUREGOER "a boon and a bless- 
ing." (1) Yes, Monte Hlue will probably 
be over here in the Spring. (2) He 
recently got married to Tova Jansen a 
stage actress. 

T. L. (Bristol). — Thanks for the draw- 
ing of my encyclopaedic self. If that's 
how you imagine me, no wonder it took 
you so long to pluck up your courage to 
write. (1) Nigel Barrie was born Feb. 
5th, 1889. (2) No, he's not in England 
now. He left for America soon after 
he'd finished making Claude Duval. 

Pearl (Nottingham). — (1) Lila Lee is 
back at the studio again, and has just 
finished playing in Coming Through, 
opposite Tom Meighan. 

R. L. (London). — Send your letters to 
film stars to me, and I will see that they 
are forwarded to the right addresses. 

Tip (Durham).— (1) You will have 
more chance of seeing Nazimova in the 
future, for she is making several new 
pictures. The Madonna of the Streets 
and The Redeeming Sin, are two of her 
recent ones and she's now at work on 
My Son. 

Pepper (Manchester). — If you say so 
it is so. I never contradict a lady ! (1) 
Sally, the screen version of the musical 
comedy is to be Colleen Moore's next 
picture. (2) She has just finished work 
on So Big and is now making Sally. 

Fan (Birmingham). — (1) Gloria Swan- 
son has one little girl of her own and an 
adopted boy. (1) She became engaged to 
a French Count, during her stay in Paris 
while she was making 
Madame Sans-Genc. 

C E. S. (Marttisham 
Heath). — Glad you admit 
that I'm human as well as 
erudite. (1) Eddie Polo is 
still in England, I believe, 
but his movements are very 
uncertain. (2) Harold 
Lloyd's address is c/o Hal 
Roach Studios, Hollywood, 
California. His latest ' film 
is Hot Water. (3). Send 
your letter to Gloria Swanson 
c/o this office, and I will 
forward it 

D. B. — Letter forwarded 
to Tackie Cooeran. 

E. A. B. (Gainsboro). — I've 
no objection to your telling 
me how very conceited I am, 
if you want to. Go right 
ahead ! (1) Betty Compson 
and Irene Rich are both 
American. (2) Charlie Chap- 
lin's matrimonial ventures 
■number only two. His first 
wife was called Mildred 
Harris, and his present one 
is Lita Grey. (3) Douglas 
Fairbanks was married only 
once before he married Mary 
Pickford. The name of his 
first wife was Beth Sully. (4) 
Norma is the eldest of the 
Talmadge sisters. (5) I've 
passed your " think " along Mae Bu 



to the right quarti r 

l i Amami (Wallasey) d> Ronald 
( oltnaa is ■ native ol England, but must 

(it hi> him unik has turn done for 
American companies, (2) He was horn 

in Richmond, Surrey, about 28 years ago, 

and has dark hair and eves i.i) Some 
ot his recent films arc Romola with 

Lillian and Dorothy <.ish, Tarnish with 

May Mc.\\oy, Hear! trouble with Con 
stance Talmadge, and A thief M Para- 
dise with Doru Kenyon 

Sybil (Nottingham).— Always glad to 
help a lady in distress. (lj I've for- 
warded your three letters (2) Tony 
Moreno, Theodore Kosloff and Charles 
de Roche can all be addressed c/o Laskv 
Studios, 1520, Vine Street, Hollywood, 
California. 

Cotton - Reel (Oxford). — You're 
evidently one of the lucky ones. (1) I've 
passed your carol on with the usual 
recommendation to mercy. 

Don't Miss It. 

Criday, March 5th. K.C. A Midnight 
1 Trade Show. K.C. Meet All The 
Boys. K.C. And Pretty Girls. K.C. 
Something for Nothing. K.C. A Mid- 
night Surprise. K.C. Corelli Wind- 
latt's Band. K.C. Romance and Adven- 
ture. K.C. A Jolly Good Time. K.C. 
Lots of Fun. K.C. Dance Your Shoes 
Away. K.C. The Cat's Pyjamas! 
K.C. Come Early. Stay Late. K.C. 
What'Il You Do? K.C. Nothing Like 
It. K.C. Beats The Lot. K.C. 
Novelties. K.C. Jazz. K.C. Light 
and Loveliness. K.C. Music and 
Merriment. K.C. Take a Step— -and 
Two Tickets for the K.C. All in a 
Good Cause. K.C. What Does It 
Mean. K.C? 

Of Course It Means — 

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82 



Pictures and Pichurepver 



MARCH 1925 




LJave you posted that last Voting 
Coupon of yours yet? If not, you 
have just seven more days in which 
to make your final choice and com- 
pete for the big 
Your Last Cash Prizes. Since 

Warning ! you yourselves are 

the judges, the 
order of popularity depends on you, 
and every coupon counts. Just think. 
Your voting your favourite star first 
may be the means of making him or 
her first by a majority of one. After 
a preliminary glance at the stacks of 
entries, it seems to me that the in- 
habitants of the Emerald Isle are the 
keenest fans. However, there is still 
time, but remember the closing date is 
March 7 and post your letter in time. 



I think English fans might like to 
know about ' The Norma Tal- 
madge Correspondence Club.' The 
Club has been in existence not quite 
a year. It has grown from a mere 
handful of Norma 
fans in Cleveland, 
Ohio, to a club of 
nearly 200 mem- 
bers from all over the world, from 
America, Canada, England, Belgium, 
France, Spain and South Africa. 
Norma Talmadge herself is 
Honorary President, and she has 
chosen our club colours and sug- 
gested many things for it. Our 
honorary members include Charles 
Ray, Ruth Roland, Adolphe Men- 
jou, Constance Binney, Hope Hamp- 
ton, Eugene O'Brien, Mr. and Mrs. 
Walter Hiers, Ethel Gray Terry, 
Robert Warwick, Alice Brady, Olive 
Wadsley (Authoress), and Ralph 
Pugh, Esq. (Managing Director for 



First National Pictures). Isn't it a' 
list? 

We have magazine contests, and all 
kinds of interesting things. We want 
all Norma fans all over the world to 
become members. Think, Norma 
fans, Norma Talmadge belongs to 
the club ! Isn't that enough en- 
couragement? For all further par- 
ticulars write straight to me (by Miss 
Constance Riquer's request, Our 
Active President) at ' Sunny Bank,' 
Edgerton, Huddersfield, Yorks. 

Joan Crosland (Yorks.) 



I think 
hind 1 



For Norma Fans., 



k there are solid reasons be- 
hind the failure of British Film," 
fulminates "Fernande" (Staffs). 
" Firstly, whither away have flown 
all our beauteous 

>\t a c -j i damsels. Flora Le 
NuffSatdl Breton) Betty Ba] _ 

four, Ivy Duke, Ivy 
Close, Hilda Bayley, Marjorie 
Hume, Madge Stuart, etc., etc.? 
Either on the stage, or acting for 
foreign film companies. Also some 
of our stars should give themselves 
the once-over. I'm not going to men- 
tion names, but dressing one's hair 
exactly the same way for years on 
end isn't conducive to popularity. 
Neither is avoirdupois, especially in a 
would-be vamp. The leading lady in 
a recent British film I saw was pretty 
and a decent actress but — her feet ! ! 
They were very large. Why then 
emphasise them by giving her flat- 
heeled shoes and short (too short 
frocks). The hero, too, was trying 
in vain to be something neither 
Nature nor art ever intended for him. 
Now I think I've said enough for 
awhile. What do you think," 



" tTar from me, dear Thinker, shall 

be it to tinker with judgments 

that Barrie has made — and you have 

approved — but I don't think my 

judgment was really 

The Persistent sodeepintheshade ! 

One. By printing my 

letter you left me 
your debtor, but still an impenitent 
" fan " — who thinks Marie Doro 
alone and none other the one and the 
best ' Peter Pan.' But leaving my 
' blindness ' a moment for kindness, 
I've found some sweet things I must 
say of such a nice girl that I saw 
t'other evening — a lady yclept Allene 
Ray. I fell for her strongly, and, 
rightly or wrongly, I've got this idea 
good and fast — that after false hopes 
and well-advertised failures, a star 
has arisen at last. 

""Triumphant Youth clearly she is 

and sincerely I think she's a 

queen all the way. I wish her much 

fame and more triumphs a-plentv, 

and long may vou 

Be Happy in thesh'me, Allene Ray I 

Thought ! And now about 

Peter — I don't 

want to cheat a good film of my 

thanks at the start, and I must admit 

Marie wasn't a candidate (so I've 

been told) for the part. But let me 

just mention, to prove my contention, 

her wonderful Oliver Twist. If 

she'd wanted ' Peter ' I guess she'd 

have got it — and Betty would not 

have been missed ! 

E. J. F. (London). 

I can't understand why the film 
serial is emulating the old 

soldier in longevity," writes 

/ D. .1/. (Matlock). "I thought it 

had died a natural 

J J 'hat's The death years ago, vet 

Answer? I find it is still go- 
ing strong. Its 
characters are unreal, it's action 
doesn't bear a second thought. Stunts 
— we can see stunts in any good, bad, 
or indifferent Westerner any old 
time. Plot — Whew ! Acting — there 
isn't any. No one could possibly take 
it seriously, why then take it at all. 
People say hard 
things about 
the British 

Film Industry, 
but at least we 
British fans 
can slap each 
other on the 
back and say, 
' Yes, We have 
No British 

Serials.' May 
we never have 
to eat our 
words!" THE THINKER. 




APRIL 1925 



Picture s and Picture Qoer 




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THERE'S a wealth of pleasure unalloyed 
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At leading Kinemas and Confectioners. Lyons' Tea Shops. 
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APRIL 1925 



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APRIL 1925 



Pictures and Rict\jre$ver 



New 3 Minute Treatment 

Takes Off Fat — Just Where 

Jbu Want to Lose It ! 



Amazing new discovery takes off flesh just where you want to lose it. 
No dieting — no pills — no discomforts. Requires only a few minutes 
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quickly reduce any fleshy part and have a youthfully slender figure. 



A T last a local treatment to take oil superfluous 
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Thousands of women are stout only in certain 
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Others have very large hips and lower limbs, 
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No Pills— No Diets— No Privations 

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CALVES T- 



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APRIL 1925 



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Picture s and Pichjre $ver 





CONTENTS .\ 






FRONTISPIECE .... 

Norma Shearer. 
PICTURECOER PIN PRICKS . 
MY TRIP ABROAD .... 

1 he rermniscencej of Rudolph. 

THE LOST WORLD .... 

Something new in Filmland. 
MERTON OF THE|MOVIES - 

The Picturegoert' Own Serial. 

LOVE IN SHADOWLAND 

All ahaut a Popular Art. 

OUR 1500 COMPETITION 

The Result of a Hard-fought Contest 

WATER. WATER EVERYWHERE ! - 

The Damp Side of Movie making. 
LOIS LAUGHS AT MEN 

Lois Wilson's Character Analysis. 
THE PERSISTENT PARSON 

A Pervasive Screen Personality. 
THE CAMBLINC SPIRIT 

High Stakes in Celluloid. 
PICTURECOER ART GALLERY - 

Sam De Graise. Alia Nazimova. Alleyne Ray. 
Tony Moreno. Molly Johnson. 

THE SCREEN FASHION PLATE 

Some smart Spring Hats. 

FOOTLIGHTS OR SHADOWS 

No. 4. Ben Lyon. 
CAPTAIN BLOOD . . - - . 

The Story of the Vitagraph Film. 
FIGHTING YOUTH .... 

Meaning May McAvoy. 

THE ART OF CHARLES CHAPLIN - 

The Screen's Perfect Pantomimic. 

HOT WATER 

Harold Lloyd's current release. 
THE MERRY WIDOW .... 

Advance glimpses of a coming film. 
K1NEMA CAROLS .... 

PULLING PICTURES TO PIECES - 

SHADOWLAND 

PICTURECOERS• GUIDE 
LET GEORGE DO IT ! - 
WHAT DO YOU THINK? - - . , 



PAGI 



I 

10 



12 
14 

16 
II 
II 
23 
24 
26 
- 28-32 

33 
34 
35 
31 
42 
44 
46 




Pictures and Pichuretyoer 



APRIL 1925 




NORMA SHEARER 

As she appears in "He Who Gets Slapped." Norma, who is a Canadian 
commenced her career on the stage, graduating via Ziegfcld's Follies to 
the silver sheet, where she bids fair to become a particularly bright star 



APRIL 1925 



Pict\ire s and Pichure pver 



PICTURES AND 



TH& PICTUR&CO&R 



SCR 



MACA 



I M 



VOL. 9. No. 52. 



APRIL. 1925. 



93. Long Act. Lnntton. 



Regiitered fir I r on^mitu n 
by Canadian Magamit Pott 



Picturegoer Pi rv Pricks 



says that motion 
owe everything to 



Rex Ingram 
pictures 
D. W. Griffith. But I 
really don't think it's fair of Rex to 
put all the blame on the shoulders of 
D. W. G. 



Because he 
thought "Dawn" 
too highbrow, 
D. W. Griffith has 
changed the title of 
his latest film to 
" Isn't Life Won- 
derful?" Seems to 
me its correct sub- 
title should be "The 
Birth of a Notion" ! 




D. W. Griffith 



Someboay writes to ask whether 
" Ben " is a traditional name 
among kinema folks. Sure, 
there is Ben Lyon, and Ben Turpin, 
and Ben Alexander, and now there's 
Ben Hur. 



fS 




Ronald Colman 
became an 
actor through 
being hit by shrap- 
nel. It wouldn't 
break my heart if 
some people I know 
ceased being actors 
through the same 
cause. 



Ronald Colman. 

Warner Brothers have installed 
a Turkish bath at their studios 
for the nine permanent stars. 
It seems that the boast about "cleaner 
pictures " is really going to hold 
water at last. 

It is rumoured that American 
directors are objecting to the 
bobbed hair of their stars. And 
the stars are rumoured to be organis- 
ing a protest against the bobbed 
brains of their directors. 



I 



r like short 
hair," says 
May Allison, 
" and shall probabh 
continue to wear it 
long after the 
lashion is obso- 
lete." It all depends 
whether you put. a 
comma after " it " 
or " long," doesn't 
it? 




Max . lllison 



u 



M 



ay McAvoy," I read, " is 
making history in Italy." 
I guess it's true, although 
the writer and I don't mean quite the 
same thing ! 

** I can stand anything," says 
Charles de Roche. Ah, yes, 
Charlie, but then you are 

stronger than us ! 

Isee they're making patent leather 
shoes out of old films. That's 
certainly one way of putting a 
little kick into them 

Anna Q. bobbed her hair in 
order to play Ponjola. Lon 
Chaney wore a rubber suit in 
The Hunchback of Notre Dame. 
Bert Lytell bleached his hair for 
Rupert of Hentzau One of these 
days there'll be a revolution in 
Hollywood. An artist will walk on 
the set and proceed to act. 



Owing to a mis- 
print in an 
A m e r i - 
can paper, Ruth 
Roland's new pic- 
ture Out Where 
the IV est Be gin a 
was described as 
Out Where the 
Worst Begins. I 
hope it isn't a pro- 
phecy. 




Now that comedians are making 
six-reelers, production costs 
are chasing the half-million 
dollar mark. No wonder Chaplin 
calls his latest effort The Gold Rush ! 



In The Confidence 
Man, Tommy 
Meighan smashed 
a mirror with his 
fist. Hasn't the pub- 
licity man who tells 
me that it is the big 
dramatic punch of 
the film got a sense 
of humour? 



PS 



■~v* «r 



Tom Meighan 



When she was cast for "Esther" 
in Ben Hur, Gertrude Olm- 
stead donned a blonde wig. 
When May McAvoy took over the 
part, Gertrude, of course, got her 
hair off ! 



In making the 
Paris scenes of 
The Rcdeeminq 
Sin, Stuart Black- 
ton made all his 
characters talk 

French. The 
rumour that 
Dante's Inferno 
was censored ow- 
ing to a similar rule 
being enforced is 
denied. 




Stuart Blackton 



They've just finished A Mid- 
summer Night's Dream in 
Germany, but it will be A 
Winter's Tale by the time we see it ! 



«t»-pj 



Ruth Roland 



'he public," says Valentino, 
doesn't want to have a star 
forced upon it." No, but the 
star doesn't mind having a public 
forced upon him. 



10 




Picture s and Picture puer 



APRIL 1925 



jC RUDOLPH 
ALENTINO 



♦ 



T* 



M 



We finally struck a 
compromise on 
the Royal Naval 
Academy. I 
turned my ambi- 
tion thenceward 
and for the first 
time I really did 
apply myself and 
studied hard to 
fit myself both 
physically and 
mentally for the 
entrance exami- 
nations. I was 
set on it. It was 
the first thin«- of 
this kind that I 
had ever wanted 
to do very badly. 
When the day 
for the examina- 
tions arrived in 
the academy at 
Venice I arrived, 
self- confident 
and anticipating 
triumph — only to 
find myself one 
inch lacking in 
chest expansion. 
I wanted to 
die. I felt that 
I had drunk the 

very dregs of humiliation I was 
tragically convinced that there was 
no place in the world for such as 
I. I had ousted myself from my world 
of dreams and the world of reality 
would have none of me. It was a 
bitter, an abysmal moment. I con- 
templated the canal. There, there 
would be oblivion where neither inches 
one way nor inches the other way 
would matter. I was a disgrace to my 
mother, therefore she could not grieve 
very much if I were broughc home to 
her cold and still. It was an arresting 




Valentino and his cousin snapped at Carostino. 

picture, and I might, just MIGHT 
have accomplished the dread deed had 
it not been that another boy found 
himself in the same position owing to 
the lack of half an inch. 

We found mutual consolation and 
decided to go on with life, albeit a bit 
wearily and resignedly. 

And thus it followed that I went to 
the Royal Academy of Agriculture to 
study scientific farming. Italy needed 
scientific farmers more than she 
needed sailors or soldiers, my mother 
said, thus replacing in me the en- 



thusiasm of an ideal which I 
felt that I had lost for all time 
for want of an inch. Besides 
she reminded me that my illus- 
trious ancestors had 
tilled the soil of their 
estates and perhaps I 
might recreate the 
traditions, once 
glorious, of, my pro- 
genitors. Wise, wise 
little mother of mine. 
I must get on with 
my narrative to-mor- 
row . . . but to-night 
I have re-lived a sec- 

tion of my 

life. It is 
almost like 
getting a n - 
other chance 
at the Past 
emotionally if 
not actually. 

Castdlancta. 
Sept. 20th. 

left myself 
in a field of 
reminiscing. It 
is the easiest 
thing in the 
world to slip 
back into 
one's past. 
Walking 
familiar 
streets. even 
though many 
of the fami- 
liar faces are 
gone, projects 
one back into 
quite as fami- 
liar sensations 
and experi- 
ences. It is 
hard to believe that so much has gone 
between. 

As I said in my previous instalment, 
my cousin met me. I hadn't seen him 
since his mother and father passed 
away. He used to have a big apart- 
ment, a whole floor, but told me that 
he had recently rented this domicile to 
a bank, which same seemed to have 
greater need of it than he did. We 
went, consequently, to the best hotel in 
the town, where I was optimistically 
promising myself a fine hot tub and a 
change. I felt I ^S(i need of both. 



APRIL 1925 



Pictures and Pict\jre$uer 



ii 



To my horror, I discovered that 
there was no room and bath reserved 
Not only was there no room with a 
bath, but there was no bath on the 
floor, and, to go still further, there was 
no bath AT ALL. None, anywhere, 
in the whole hotel. 

""The worthy manager spread his 
fingers wide apart, in a gesture of 
complete self-exoneration, " Because," 
he said, " there is a Turkish hath 
around the corner we don't need one 
in the hotel !" 

Can you imagine going to any 
hotel in New York, even in 
America, and having them tell you 
that there is no bath for the good 
and sufficient reason that there is 
one "around the corner?" 

I was wretchedly dusty enough, 
however, to prevail upon the 
manager to present me with an 
ample basin, which he did, in great 
puzzlement, wondering what all the 
hurry was about and why I couldn't 
wait a few hours, a day or two, 
and then step into the convenient 
Turkish bath " around the corner " 
at my leisure and convenience. I 
finally managed to take a sponge 
bath- — cold — and thought, as I 
■splashed, of the Ritz in New York, 
with longing and regret. This 
travelling, I pondered, between 
shudders, is not always what it is 
cracked up to be. Ah, Rudy, my 
boy, it has its disadvantages ! 

After I had made myself as 



and are renewed, but human nature, 
unless it be ignited by the moving 
spark variously called genius, or 
creativeness, or only mere ambition, 
human nature remains amazingly the 
scrmc. 

These men, these familiar faces, WOO 
I saw, to my unfeigned surprise, sit- 
ting around the same old table, in the 
same old indolent postures, in the same 
old cafe, hail been young fellows of 
twenty-three or four when I was a 
mere lad of thirteen or fourteen. At 
that time they wouldn't have anything 
to do with me, of course, and it had 
been one of the ambitions of my life 
to be recognised by them, to be made 



same smallncss of intellect. As 1 
narrow and stultified ideas, with the 
w.itohed them there from a nearby 
table, 1 realised that the luckiest thing 
that had ever happened to me. was 
getting away and going to America. I 
might so conceivably, so easily have 
me one of them 

Sitting at our table, with my cousin, 
there came back to me so vividly that 
rather painful period just before I 
went to America. 

That period was painful for me and 
also for my rather long-suffering 
family. I had won honours at the 
Royal Academy of Agriculture, but my 
brief and croud position as Pride of 



A group of townsfolk gathered to 
ivelcome Rudy at Castellaneta 





presentable as I could, my cousin 
and I sallied forth, and I met a lot of 
my old friends at the very same old 
cafe they had used to frequent and 
were still frequenting, as it seemed to 
me quite unmoved since I had left. 

They were the only thing about the 
old town that had not changed. 
Things, I thought, move on and alter 



one of them, to receive a slap on the 
back or a tentative confidence. It 
would have fairly swelled me with 
pride and import. They had seemed 
so splendid to me then ! Now, here 
they were in their approaching mid- 
thirties, still sitting about the table, 
still talking the same language in the 
same way, still exchanging the same 



This little church overlooking the precipice was 
Rudy's favourite play-ground as a child. 

the Family was more or less short- 
lived. I was, of course, in the love- 
sick period of life. And if there is 
anything on earth more lamentably 
love-sick than an Italian youth in love, 
then I have yet to gaze upon that 
phenomenon. I languished, wrote 
violent love verse. I copied page 
after page from Tasso and Petrarch. 
I sighed like a furnace. I took out in 
surreptitiousness what an American 
youth of the same age and station is 
able to give vent to by word of mouth. 

Tn Italy rigid convention prevents a 
youth from much social intercourse 
with gently-bred girls, who are never 
without those perennials, chaperons. 
My family predicted darksome fates 
for me. And it was, therefore, small 
wonder, I suppose, that Paris called 
me. In Paris, I thought, the mistress 
of the cities of the world — in Paris. I 
would find my just due of appreciation 
— and pleasure. Regardless of my 
family's entreaties, I pocketed what 
little money I had and dashed away to 
Paris to see what might be seen. And 
for a time the favours that I won 
turned my giddy head. I felt trium- 
phant. Elated. Conquering. Here, I 
(Continued on page 58). 



12 



Pictures and PichjreQver 



APRIL 1925 



"* *""" «. 




JK 5 [D5t\yorld 



Hoyt, director, 
gives two of 
t h e stars o f 
"The Lost 
V/orld " (Bes- 
sie Love and 
Lloyd Hughes 
a preliminary 
g e o graph y 
lesson. 

Turning Time's wheel backwards 
for a little matter of ten thou- 
sand years is the latest feat of 
the kinema. Although a clever 
company of human beings enact the 
story of The Lost World on the silver- 
sheet, it is the " reel old-timers," wh6 
carry off the honours. Papier mache 
personalities these, whose names appear 
only in the subtitles of the film, for to 
include them in the cast might give 
away the secret of their construction, 
which will make interesting reading 
some day. 

Whether these realistic reincarna- 
tions are tiny models, photographically 
enlarged, and posed against trick 
•scenery, or whether they are really as 
lsrge as they appear, and are worked 
by mechanism or even concealed men 
(as was the case in The Nibclungs), 
they are the most startling and intrigu- 
ing monsters who have ever invaded 
screenland. 

The film itself was seven years in the 
making, and no wonder. For it is 
something absolutely novel, and, aparc 
from the initial research work, many 
months were spent upon experimenting 
with various processes submitted to 
mak^.the prehistoric monsters " live." 

Most people are familiar with Conan 
Doyle's story of a Professor who 
claimed to have discovered a plateau in 
South America, whereon the 
last survivals of the prehis- 
toric age still lived and Ji.ad 
their being. 

Returning, to collect proofs 
for an unbelieving Metro- 
polis, we follow the adven- 
tures of .his party on the 
plateau, amongst Ape men, 
and creatures five score feet 
long (bigger than seven 
elephants). Thunder Lizards, 
Tyrrannosauri, Trachodons, 



Neck-biting 

is apparently older 
than history. This is a typical 
scene from " The Lost World."' 




APRIL 1925 



Pictures and Picture? ver 



1.1 



Btlow A fight t" I'"- dooth botwoon «» 

Allotcmrut mid <i Troehodo* Tht Alio 

taunts, although tho maUor oj the 

monitors proved victoriow 





cause of the unearthly 
noise it made and its 
queer lumbering walk. 

Its full official descrip- 
tion is " Unarmoured 
herbivorous quadruped, 
with elephantine limbs 
and feet; long, giraffe- 
like neck, and very small 
.head and brain. In short, 
an animal automatom. 

This according to 
scientists, wVio, from 
skeletons and fossilized 
remains reconstructed 
the skeletons of this, and 
other more fearsome 
monsters who roamed the 
prehistoric jungles 

before Man existed. 



Above : Bull Montana 
(right) as an Ape-man 
and "Mary" an honest- 
to-goodness specimen 
zoho plays with him. 

Right : The four prin- 
cipals, Wallace Beery 
Lewis Stone, Bessie 
Love and Lloyd 
Hughes. 



Left : A Triceratops has a few -^ords with 

a Brontosaurus on the question of food 

supplies. 

Besides the " Bront," the little band 
of explorers watched the Allasaurus, 
all 9 by 35 feet of him, attack with 
teeth, tail and claw, the less ferocious 
creatures and kill and cat them. 

The City scenes were, of course, sets. 
220 yards long, on which two thousand 
people, hundreds of taxis and motors, 
buses, etc., under the supervision of 
five assistant directors and eighteen 
cameras registered terror and flight for 
two nights without ceasing. The effect 
is extraordinary and altogether ex- 
cellent. 

Detail work on a production like The 
Lest World is almost better imagined 
than described. The project was con- 
ceived by Willis H. O'Brien, a well- 
known American sculptor and financed 
by Watterson R. Rothacker, who en- 
gaged O'Brien as research and techni- 
cal director. Earl Hudson, assisted by 
Harry Hoyt attended to the human 
element in the story, and Milton 
Menasco to the settings and architec- 
ture. It is an Ass. First National pro- 
duction. Scientists inform us that our 
ancestors of the prehistoric era were 
furry and about the size and shape of 
guinea pigs. But they had brains, and 
whilst the monkeys fled to the trees 
before the ferocious monsters, these 
mammals stayed near the ground and 
deftly destroyed the eggs of the dino- 
saurus, thus dooming them to exter- 
mination. Which was, judging from 
The Lost World, a good thing for all 
of us. Josif. P. Lederer. 



14 



Pichjre s and Pichure $uer 



APRIL 1925 




MertorA of the Movies 

HflRRTf kEON WILSON 



Merton Gill, assistant in Gash- 
wiler's general store cherishes 
secret ambitions of screen stardom, 
which he confides to a chosen few. 
One of these is Lowell Hardy, the 
town's highly artistic photographer 
with whom he makes an appoint- 
ment to " shoot some JVestern 
stuff — stills," the following Sunday 
afternoon. At the appointed time 
Merton attires himself in his cow- 
boy outfit (fresh from the Mail 
Order house in Chicago), and in the 
imaginary character of " Two Gun 
Benson," passes the time till Lowell 
arrives by casting a clothes-line 
lasso at the old white horse used 
for the store's deliveries. 



" \Y/ e H. did you like your rig?' inquired 
*» Metta genially. 

" Oh, it'll do for the stills we're shoot- 
ing to-day," replied the actor. " Of 
course I ought to have a rattlesnake-skin 
band on my hat, and the things look too 
new yet. And say, Metta, where's the 
clothes-line? I want to practise roping 
a little before my camera man gets here.' 

" My stars ! You're certainly goin' to 
be a real one, ain't you?" 

She brought him the clothes-line, in 
use only on Mondays. He re-coiled it 
carefully and made a running noose in 
one end. 

At two Lowell Hardy found his subject 
casting the rope at an inattentive Dexter. 
The old horse stood in the yard, head 
down, one foot crossed nonchalantly be- 
fore the other. A slight tremor, a 
nervous flickering of his skin, was all 
that ensued when the rope grazed him. 
When it merely fell in his general 
neighbourhood, as it oftener did, Dexter 
did not even glance up. 

"Good stuff!" applauded the artist. 
" Now just stand that way, holding the 
noose out. I want to make a study of 
that." 

He rapidly mounted his camera on a 
tripod and put in a plate. The study was 
made. Followed several studies of the 
fighting face of Two-Gun Benson, grim 
and rigid, about to shoot from the hip. 
But these were minor bits. More im- 
portant would be Buck Benson and his 
old pal, Pinto. 

From the barn Merton dragged the 
saddle, blanket, and bridle he had bor- 
rowed from the Giddings House livery 
stable. He had never saddled a horse 
before, but he had not studied in vain. 
He seized Dexter by a wisp of his sur- 
viving mane and simultaneously planted 
a hearty kick in the beast's side, with a 
command, " Get around there, you old 
skate!" Dexter sighed miserably and 
got around as ordered. He was both 
paired and astonished. He knew that 
this was Sunday. Never had he been 
forced to work on this day. But he 
meekly suffered the protrusion of a bit 



between his yellow teetn, and shuddered 
but slightly when a blanket and then a 
heavy saddle were flung across his back. 
True, he looked up in some dismay when 
the girth was tightened. Not once in all 
his years had he been saddled. He was 
used to having things loose around his 
waist. 

The girth went still tighter. Dexter 
glanced about with genuine concern. 
Some one was intending to harm him. 
He curved his swanlike neck and snapped 
savagely at trie shoulder of his aggressor, 
who kicked him again in the side and 
yelled, "Whoa, there, dang you!" 

Dexter subsided. He saw it was no 
use. Whatever queer thing they meant 
to do to him would be done despite all 
his resistance. Still, his alarm had 
caused him to hold up his head now. 
He was looking much more like a horse. 

"There!" said Merton Gill, and as a 
finishing touch he lashed the coiled 
clothes-line to the front of the saddle. 

" Now, here ! Get me this way. This 
is one of the best things 1 do — that is, so 
far." Fondly he twined his arms about 
the long, thin neck of Dexter, who tossed 
his head and knocked off the cowboy 
hat. " Never mind that — it's out," said 
Merton. " Can't use it in this scene." 
He laid his cheek to the cheek of his pet. 
" Well, old pal, they're takin' yuh from 
me, but we eot to keep a stiff upper lip. 
You an' me has been through some purty 
lively times together, but we got to face 
the music at last — there. Lowell, did vou 
get that?" 

nriie artist had made his study. He made 
* three others of the same affecting 
scene at different angles. Dexter was 
overwhelmed with endearments. Doubt- 
less he was puzzled — to be kicked in the 
ribs at one moment, the next to be 
fondled. But Lowell Hardy was enthusi- 
astic. He said he would have some cork- 
ing studies. He made another of Buck 
Benson preparing to mount good old 
Pinto; though, as a matter of fact, Buck, 
it appeared, was not even half prepared 
to mount. 



" Go on, jump on him now," suggested 
the artist. " I'll get a few more that 
way." 

"Well, I don't know," Merton 
hesitated. He was twenty-two years old, 
and he had never yet been aboard a 
horse. Perhaps he shouldn't try to go 
too far in one lesson. " You see, the old 
boy's pretty tired from his week's work 
Maybe I better not mount him. Say, I'll 
tell you, take me rolling a cigarette, just 
standing by him. I darned near forgot 
the cigarettes." 

From the barn he brought a sack of 
tobacco and some brown papers. He 
had no intention of smoking, but this 
kind of cigarette was too completely 
identified with Buck Benson to be left 
out. Lolling against the side of Dexter, 
he poured tobacco from the sack into 
one of the papers. 

"Get me this way," he directed, "just 
pouring it out." 

He had not yet learned to roll a 
cigarette, but Gus Giddings, the Simsbury 
outlaw, had promised to teach him. 
Anyway, it was enough now to be looking 
keenly out from under his hat while he 
poured tobacco into the creased paper 
against the background of good old 
Pinto. An art study of this pose was 
completed. But Lowell Hardy craved 
more action, more variety. 

"Go on. Get up on him," he urged. 
" I want to make a study of that." 

" Well " — again Merton faltered — " the 
old skate's tired out from a hard week, 
and I'm not feeling any too lively 
myself." 

" Shucks ! It won't kill him if you get 
on his back for a minute, will it? And 
you'll want one on him to show, won't 
you? Hurry up, while the light's right." 

Yes, he would need a mounted study 
to show. Many times he had enacted a 
scene in which a director had looked 
over the art studies of Clifford Armytage 
and handed them back with the remark, 
" But you seem to play only society parts, 
Mr. Armytage. All very interesting, and 
I've no doubt we can place you very 
soon; but just at present we're needing a 



APRIL 1925 



Picture s and Pichjre puer 



15 



lead for a Western, a man who can look 
the part and ride." 

Thereupon he handed these Buck 
Benson stills to the man, whose face 
would instantly relax into an expression 
of pleased surprise. 

"The very thing," he would say. And 
among those stills, certainly, should be 
one of Clifford Armytage actually on the 
back of his horse. He'd chance it. 

"All right; just a minute." 

He clutched the bridle reins of Dexter 
under his drooping chin, and overcoming 
a feeble resistance dragged him along- 
side the watering trough. Dexter at first 
thought he was wished to drink, but a 
kick took that nonsense out of him. 
With extreme care Merton stood upon 
the edge of the trough and thrust a leg 
blindly over the saddle. With some 
determined clambering he was at last 
seated. His feet were in the stirrups. 
There was a strange light in his eyes. 
There was a strange light in Dexter's 
eyes. To each of them the experience 
was not only without precedent but 
rather unpleasant. 

" Ride him out in the middle here, away 
from that well," directed the camera man. 

" You — you better lead him out," sug- 
gested the rider. " I can feel him tremble- 
already. He — he might break down 
under me." 

Metta Judson, from the back porch, 
hcTe came into the piece with lines that 
the author had assuredly not written for 
her. 



"i. id. lap, there, you Dcxtci t.asbwilcr," 

called Mcit.i loudlj and with the best 

intention-. 

"You keep still," commanded the nil 
severely, not turning bis head W hat a 
long way it seemed to the ground' lie 

had never dreamed that horses were so 
lofty. " Better lead him," he repeated to 

bis camera man 

Lowell Hardy grasped the bridle reins, 

and after many \am efforts persuaded 

Dexter to stumble a\\a\ from the will 

His rider grasped the born of bis saddle 

" Look out, don't let him buck." he 

called 

But Dexter had again become motion- 
less, except for a recurrent trembling 

under this monstrous infliction. 

" Now, there," began ibe artist " Hold 
that. You're looking off over the Western 
hills. Atta boy! Wait till 1 get a side 
view." 

" Move your camera," said the rider 
" Seems to me he doesn't want to turn 
around." 

But again the artist turned Dexter half 
around. That wasn't so bad. Merton 
began to feel the thrill of it. He even 
lounged in the saddle presently, one leg 
over the pommel, and seemed about to 
roll another cigarette while another art 
study was made. He continued to lounge 
there while the artist packed his camera. 
What bad he been afraid of? He could 
sit a horse as well as the next man • 
probably a few little tricks about it he 




/ // tell you 

— take me 

rolling a 

cigarette. I 

darned near 

forgot the 

cigarettes." 



hadn't Irained yet. but hr'd get these, (00 

" I bel they'll come out ftne," be called 

to (he departing artist 

" I caw that t<i DM I daft sav I'll be 
able to do something good with thCSfl 

So long " 

"So long," ret ur ned Merton, and was 
left alone on the bacV "I a horse higher 
than people would think until tbes got Oft 
bun Indeed, be was beginning to like 
it If you just bad a little nerve you 

needn't be afraid of anything very 

Carefully he clambered from the saddle 
His old pal shook himself with relief and 
Stood Once more with bowed head and 

crossed forelegs. 

His late burden observed him approv- 
ingly There was good old I'into after 
a bard day's run over the mesa He had 
borne his beloved owner far ahead of the 
sheriff's posse, and was now securing a 
moment's much-needed rest. Merton 
undid the riata and for half an hour 
practised casting it at his immobile pet. 
Once the noose settled unerringly over 
the head of Dexter, who still remained 
immobile. •• 

""Phen there was the lightning draw to be 
" practised. Again and again the trusty 
weapon of Buck Benson flashed from its 
holster to the damage of a slower 
adversary. He was getting that draw 
down pretty good. From the hip with 
straight wrist and forearm Buck was 
ready to shoot in no time at all. 
Throughout that villain-infested terrain 
along the border he was known for his 
quick draw. The most desperate of 
them would never molest him except they 
could shoot him from behind. With his 
back to a wall, they slunk from the 
encounter. 

Elated from this practice and from the 
memory of that one successful rope cast, 
Merton became daring in the extreme. 
He considered nothing less than remount- 
ing his old pal and riding, in the cool of 
early evening, up and down the alley upon 
which the barn-yard gave. He coiled 
the rope and again lashed it to the left 
front of the saddle. Then he curved an 
affectionate arm over the arched neck of 
Pinto, who sighed deeply. 

" Well, old pal, you and me has still 
got some mighty long miles to git over 
between now and sunup to-morrow. I 
reckon we got to put a right smart of 
distance between us and that pesky 
sheriff's posse, but I know yuh ain't lost 
heart, old pal." 

Dexter here tossed his head, being 
cloyed with these embraces, and Two- 
Gun Benson caught a look in the desper- 
ate eyes of his pet which he did not 
wholly like. Perhaps it would be better 
not to ride him any more to-day. Per- 
haps it would be better not to ride him 
again until next Sunday. After all, 
wasn't Dexter practically a wild horse, 
caught up from the ranee and broken to- 
saddlc only that afternoon? No use 
overdoing it. At this moment the beast's 
back looked higher than ever. 

It was the cutting remark of a thought- 
less, empty-headed girl that confirmed 
Merton in his rash resolve. Metta 
Judson, again on the back steps, surveyed 
the scene with kindling eyes. 

" I bet you daresn't get on him again," 
said Metta. 

These w ere strong words ; not words 
to flune lightly at Two-Gun Benson. 

"You know a lot about it, don't you?" 
parried Merton Gill. 

"Afraid of that old skate!" murmured 
(Continued on page 60). 



16 



Picture s and Pichjre $uer 



APRIL 1925 



todowar\d 




Edith Roberts looks adorably innocent as 

she asks Tom Moore if he loves her. in 

"On Thin Ice." 



"I 



t's a ticklish business," as the bud- 
ding boy-about-town said to the 
debutante flapper. 
I mean of course that the matter 
of making love in the land of shadows 
is not, as the audience often imagines, 
a pleasurable sort of philandering life 
of one sweet amour after another. On 
the contrary, making love on the screen 
requires histrionic manipulation, delicate 
shadings, and a sincere touch to make 
the theme ring true. This quite apart 
from little problems of temperament 
which the producer tries hard to avoid, 
such as the intriguing situation of a 
Hollywood couple spending their honey- 
moon in different studios making love 
to another man's wife or another 
woman's husband, as the case may be. 
Marie Prevost and Kenneth Harlan had 
to do that quite recently. 

"The field of investigation in this most 
delicate subject covers the possibili- 
ties both of real love and simulated love. 
Lots of people, carried away by the 
apparent sincerity of a romance on the 
screen, feel quite sure that the actor 
and the actress must really be in love 
with one another, especially if the same 
two players are often seen together, like 
Beverley Bayne and Francis X. Bush- 
man used to do and as Monte Blue and 
Marie Prevost do nowadays. The 
romance of the former couple was the 
talk of the world for years and then 
finally, rumours were set at rest when 
their marriage was announced. But 
the case of Monte Blue and Marie 
Prevost is different for both are 
married, though not to each other. 

More than just prettiness is needed 
for convincing love-making on the 
screen. Actors and actresses must 
possess an amazing versatility and the 
vari-coloured personality of a 
chameleon so that one day they may 
portray the flashing fire of love that 




Marie Prevost and Monte Blue in 

" Recompense " prove that " absence 

makes the heart grow fonder." 

brooks no obstacle and the next, the 
•tender sympathy of mutual affection — 
one day loving with the fierce passion 
of the Oriental and the next day with 
the conventional restraint of a May- 
fair marriage. With all the goodwill in 
the world, even the male or female 
philanderer cannot make genuine con- 
quests enough to keep pace with the 
demands of the film producer and the 
public. Obviously something more than 
real love is needed. 

Take the case of Marie Prevost and 
Monte Blue. In The Marriage Circle. 



The way to a ivoman's heart is the same as the 

way to a man's according to Matt Moore and 

Dorothy Devore. 



you will remember, Marie was the 
delicious little flirt fluttering on the 
fringe of " vamping " and giving Monte 
palpitations of the heart that he didn't 
want at all. From that they proceeded 
straight to The Lover of Camillc 
where Marie inspires in Monte what the 
French call a " grande passion " which 
she doesn't reciprocate. Change about 
again for The Dark Swan and Marie 
hooks and catches Monte with the bait 
of prettiness and personality and he 
suffers an equivalent fate to that of the 
poor fish. 

""Then once more this pair of lovers 
become the " Peter " and " Julie " 
of Robert Keable's novel " Recom- 
pence," the sequel to " Simon Called 
Peter," in which, no doubt you remem- 
ber Peter is looking round France for 
something he wants without quite know- 
ing what and finally finds Julie whose 
sort of sporting offer of herself leads 
to a bond of sympathy between them. 
These four films represent stories of 
four entirely different kinds of loves 
demanding a difference in what one 
might call the love technique in each 
instance. 

Then take the case of Irene Rich. 
Normally she is a very charming, 
demure and aloof " lady of the land 
type, mother of two daughters, one 
twelve years old. She won her laurels 
portraying sweet, sympathetic wives, 
neglected by their husbands and with 
too much self-respect to enter the lists 
to fight for them. Then all of a sudden 
she startles the film critics with an 
amazing revelation of the soul of 
" Marian Forrester," the heroine of A 
Lost Lady. She becomes the very 



APRIL 1925 



Pictures end P/ctvrepver 



17 



cast in another pu tin 

Beverly Baync took up tin- defence 
by pointing out that even while enact- 
ing a love theme 
mi the silver 
screen, 
players 
should bring 
every gesture 
— every act 
— and each 




antithesis of herself and the roles she 
has hitherto played. But following 
that, Warner Brothers entrusted her, 
in The Man Without a Conscience, with 
the role of a cold, unapproachable 
debutante, and she follows that up with 
regular flapper parts in My Wife and I 
and Eve's Lover. 

Another Warner picture A Broadzvay 
Butterfly is quite a study in different 
loves. Here we have Dorothy Devore, 
Louise Fazenda and Lilyan Tashman 
i presenting the real and the tawdry, the 
I tinsel of cabaret and theatre, and the 
idealism of home and ambition; on the 
other side of the fence stand Willard 
Louis, Cullen Landis and John Roche, 
three sporting gentlemen pursuing the 
thrilling game of love, each with a 
tongue in .his cheek and his eye cocked 
for a sprightly partner — three 
* bounders " standing at the same sign- 
post of love one minute but starting 
along three different paths the next. 

Dorothy Mackaill's presentation of a 
tender, trusting love in The Bridge of 
Sighs, however, reminds one of all the 
fairy stories of brave ladies waiting 
patiently for love to find a way while 
they believe in their heroes despite all 
the evil in the world. It was the origin 
of an illuminating studio discussion on 
the subject. Edith Roberts, who played 
a similar type of " sweetheart " 
in On Thin Ice, simultaneously 
with Dorothy Mackaill in the 
Warner Studio, often walked 
over to compare notes. Finally 
the argument became so keen 
that a referee had to be called 
in to sa\ e the stars from a 
wordy controversy. With 
ridiculous gravity, Mai St. Clair, 
who was directing On Thin Ice, 
declared that whoever made 
love most delightfully and more 
effectively would win the Chim- 
panzees's frozen eyeball. Shy 
1 little June Marlowe thought that 
nobody should simulate this 
divine emotion — and the whole crowd 
i of players metaphorically fell upon this 
with the enquiry " What? Have we got 
to fall in love anew every time we are 



Buster 

Collier and 

Louise Fazenda 

make love in the 

open in " The Lighthouse by the Sea;' 

with Rin Tin Tin playing gooseberry. 



Right : 
Cr eight on 
Hale says 
it with 
flozvers to 
Dorothy 
Mackaill 
Bottom 
circle : Irene 
Rich's heart 
proves hard 
to melt in 
" The Man 
Without a 
Conscience." 




tiny expression, from the depths of their 
inmost beings, because unless their 
characters were sincerely part of 
themselves, they were woefully 
inadequate and became grotesque 
rather than divine expressions of 
this most God-like thing — Love. 

They all had to admit that 
Beverly had the benefit of ex- 
perience. 

" What is love in shadowland?" 
it is almost inhuman hypnotism that 
accepts as real, all the arts and tricks 
that make the photoplay, added to the 
minutest knowledge of technique, ex- 
pression and dramatic visualisation. 

This proves the fact that love making 
in shadowland is the greatest of all the 
arts of that romantic world. 



18 



Pictures and Pichdretyver 

Kbrso 



APRIL 1925 




Rudolph Valentino, winner of "The Picturegoer" Popularity Contest. 



The coupons have been counted and 
checked, the votes have been 
registered, and the result of the 
PICTUREGOER Popularity 
Contest reveals the interesting - , though 
not wholly unexpected fact that 
Rudolph Valentino is the most popular 
screen star in the British Isles. 




RAMON NOVARRO. 



It is very gratifying to announce that 
•the entry for this contest was excep- 
tionally large, and the result reflects the 
opinion of the great majority of our 
readers. 

Four fortunate competitors succeeded 
in placing the ten screen stars in the 
order of popularity decided by the 
majority vote, and, in accordance with 
rule 5, the first four prizes totalling 
£425 will be divided equally between 
them. The four winners, each of whom 
will receive a cheque for £106 5s., are 

Miss A. M. Cawthorne, 61, Cedar 
Road, Sherwood Rise, Nottingham ; 

Miss D. Davies, Voryn Hall, Old Col- 
wyn, N. Wales ; 

Miss Dorothy Evans, 9, York Street. 
Swansea ; 

Mr. D. Sandcll, 54, Pasquier Road. 
Walthamstow, London, E. 17. 

The winning list is as follows : — 

1. Rudolph Valentino 

2. Norma Talmadge 
Ramon Novarro 
Jackie Coogan 
Harold Lloyd 
Ivor Novello 

7. Gloria Swanson 

8. Alice Terry 

9. Bcttv Compson 
10. Robe" Daniels 



umptent 



Rudolph Valentino, Sheik of the Sheiks, 
heads the PICTUREGOER popularity 
poll, with Norma Talmadge and Ramon 
Novarro in close attendance for second 
and third places. 

A complete list of prize-winners will 
be found on page 58 of this issue. 

It will be seen that the ladies pre- 
dominate in respect of the big prize in 
the proportion of three to one. Lucky 
ladies ! 

To all the successful competitors the 
Editor offers .his heartiest congratula- 
tions ; they have every reason to be 
proud of their success. 

Since Chaplin first took the world by- 
storm, no screen star has had such a 
vogue as Rudolph Valentino, who heads 
the PICTUREGOER poll. Even a 
protracted absence from the screen has 
failed to diminish his popularity, and 
his recent re-appearance in Monsieur 
Bcaucairc, was hailed with rapturous 
delight by his legion of admirers. 

Norma Talmadge is an old-estab- 
lished screen favourite. Stars come and 
stars go but Norma continues to occupy 
a leading position whenever the popu- 
larity of the stars is tested by the votes 
of picturegoers. 

Ramon Novarro, third in order of 
popularity, is the baby of the party for 
he is a comparative newcomer to the 
screen. But his popularity has been 
steadily growing since he made his film 
debut and it is not surprising to find 
him in the first flight of fame. 




AY) RMA TALMADGE. 



APRIL 1925 



Pictures dnd Pictvrevver 



19 




One of the wisest maxims of movie-making is " Put plenty of water with it." 



Film-makers are no great 
respecters of persons, things, or 
the ordinary rules by which 
human existence is bounded. 
They will cheerfully murder great 
masterpieces of fiction for their own 
ends, serving up the mutilated rerrrams 
as a sacrificial offering to that great 
god of their own conception — Popular 
Appeal ; will drag persons of historical 
fame from their reluctant graves, turn 
them into travesties too awful to con- 
template, and survey the result with 
childish delight and an orgy of self- 
praise; will create, for the screen, men 
and women who think, talk and act in 
a manner totally different from that of 
any flesh and blood being; will flood a 
story with false sentiment and call it 
" heart appeal," bathos and call it 
pathos, crudity and call it comedy, 
without turning a hair. 

But there is one natural law whose 

existence they have never yet attempted 

to deny. The fact that water is a 

common necessity without which 

lothing can live for long seems to be 

>retty generally acknowledged even by 

he potentates of screenland, for the 

ery dullest and driest of films show 

..he presence of this all-powerful liquid 

in some shape or form. 

Whether they are comedies, tragedies, 
dramas or satires they always include 
some more or less watery scene, though 
it be only the tears of a persecuted 
heroine that drip their way to our sus- 
ceptible hearts. 

Love scenes are frequently filmed 
with a background of water fringed 
by trees. There seems to be something 
marvellously conducive to love-making 
in a stretch of placid water, preferably 
with a sunset behind it. or a pathway 
of moonlight shimmering across it. 



Some really beautiful reflection 
effects are sometimes obtained in 
scenes of this description. In The 
Forbidden Paradise, Rod La Rocque 
and Pauline Starke are seated by the 
side of an ornamental lake, at evening, 
in the palace grounds. The next shot 
is of the lake itself, in whose still depths 
the actions of the two lovers are 
reflected. " As in a mirror, darkly," we 
see " Alexei " bend forward to kiss his 
sweetheart, but just before their lips 
meet a fish ruffles the water and the 
reflection is lost to sight. 

A favourite and effective trick of 
producers is to get the lovers to hold 
hands and gaze into each other's eyes, 
so that they are silhouetted pic- 
turesquely against the background of 
sky and water. There seems to be 
something quite irresistible about the 
pose, and more film marriages have 
been made this way than it i«. oossible 
to count. 

Of course, the film heroine who lives 



House 

Peters 

makes 

an 

excellent 

\achtsinan. 




20 



Picture s and Picture puer 



APRIL 1925 




filmed on the sea at 
all, but in a large 
pool or tank of 
water in the studio. 
Individual scenes, 
such as the one in 
Little Robin- 
son Crusoe, when 
the water begins to 
flood the cabin of th« 
wrecked vessel in 
which Jackie Coogan 
is voyaging, are 



Above : Flora Le Breton was nearly 
drozvned in "The Gipsy Cavalier." Right : 
A very wet night in " Code of The Sea." 

by the sea has more natural advan- 
tages in this direction than her inland 
sister, who often has nothing more 
romantic than a duck pond or the local 
tadpole stream at her command. The 
former's best work is done while lean- 
ing gracefully against a rock on some 
deserted shore, smiling coyly at the 
hero. 

It was thus that Louise Fazenda 
lured Buster Collier on to declare his 
love in The Lighthouse by the Sea, 
after .having rescued him from a watery 
death some days previously. 

Speaking of the sea brings us 
naturally to those films — and they are 
many — dealing largely with a life on 
the ocean wave, by the ocean wave, o 
in some intimate way 
connected with it. 

Shipwrecks provide 
exciting episodes in a 
number of these and 
they are often .so 
realistically done that 
it is difficult to believe 
they are not so real and 
terrible as they appear 
to be. As a rule, .how- 
ever, they are not 





Perry Marmont is east up by the '.eaters 
in " The Clean Heart." 



taken in specially built 
sets. Water is pumped 
into the cabin with great 
force, to look like the 
waves breaking in. and 
the general effects of a 
storm are reproduced. If 
a .ship has to lie blown up 
or sunk it is made in 
miniature, placed in a 
tank of water, and ex- 
ploded with dynamite, 
thou when the scene 13 



filmed it is magnified by some special 
process so that it all looks an ordinary 
size. 

The explosion of the deserted pirate 
ship in Captain Blood is considered one 
of the best achievements of its kind, 
and this was done in very much the 
same way, though strange to say it was 
not intended to make quite such a clean 
job of it. The director wanted merely 
to blow a hole in the side of the ship 
and then let it slowly sink. Orders were 
given for the dynamite to be prepared, 
and by an error twice the required 
amount was brought and inadvertently 
used. The result was an explosion that 
sent the ship sky-high and nearly anni- 
hilated members of the company who 
stood at some distance off, watching. 

The fact that so many so-called " sea 
scenes " are made right away from the 
sea in the studio's own water tank, 
minimises much of the danger that 




Aooze : Stewart Rome takes to ine water 

after a regimental dinner. Left : Sheik 

stuff bv the waterside in " Shadoie of the 

East" 

attends working in the water. But 
there arc some scenes that call for the 
real thing, and lives are very often 
risked in taking a shot of the hero or 
heroine, struggling through a turbulent 
sea towards the shore — usually an 
island shore, on which they are thrown, 
after a shipwreck of which they are the 
sole survivors. 

\Jeedless to say, the stars very seldom 
run these risks themselves, and there 
are men and girls in Hollywood who 
make a living by " doubling " for the 
stars when stunts of this sort have to 
be gone through. 

Now and then, however, you find an 
actress or actor who prefers to run .her 
or his own risks, and Flora le Breton 
very nearly lost her life, some time 
back, when she was playing in The 
Gypsy Cavalier. , The scenario called 
for her coach to be swept away in a 
flood and for her to be saved by the 



APRU- 1925 



Pictures and P/c/-\jre$ver 



21 




3 



Ramon 

Novtrro 

risking 

pneumonia 

for " 1 he 

Red Lily." 



The Tzvo Little Vagabonds is one of 
the wettest films of its kind that I have 
ever seen. Not only is it saturated 
with the perpetual, if pathetic, tears of 
its unfortunate little heroes, but it has 
a reallv thrilling seen* in which the 



Doris May 

enjoys a watery 

zvooing by William Farnu 

hero. The river that was used for the 
scene happened to be a little bit out of 
hand, and the coach, was whirled away 
into a torrent of deep water before any- 
one knew what was happening-. So the 
rescue that was staged, just in the nick 
of time, was rather more real than any- 
body had intended. 

Dut apart from the actual dangers of 
'-' working with water, it is not always 
particularly pleasant, and comedy 
scenes that bring laughter to an 
audience are not so funny to the stars 
who play in them. 

In The Desert Flower, Colleen 
Moore's latest picture, she has to take 
a bath in a crude shower she has made 
for herself. A metal cask filled with 
water tanks was erected on a roughly- 
built platform, and a rubber hose with 
a spray nozzle protruded from it. 
Colleen, as " Maggie " Fortune, the 
heroine stood in a barrel underneath the 
platform so that just her head and 
shoulders were visible, and the water 
from the cask overhead poured down on 
her. 



This scene was shot out on location, 
in a lonely stretch of sagebrush and 
sand, on an isolated railway siding. An 
icy wind was blowing at the time, but 
the director was so engrossed in his 
work that he did not notice it, until the 
chattering of poor Colleen's teeth, as 
she bravely stood under the cold shower 
drew his attention to the fact that she 
wasn't exactly comfortable. 

Tn a comedy of any kind, and es- 
pecially a slapstick comedy, there is 
nearly always a scene with water in it. 
and you may be quite sure that the prin- 
cipal comedian or the principal villain 
will either get pushed into this, jump 
into it, or have some unfortunate mis- 
hap with it, before the film is ended. 
There seems to be an unwritten law in 
film comedies that ponds, like boxes of 
eggs, are made to be fallen into. 

There is also nearly always a water 
scene in a heavy drama, although it is 
usually one of serious and deadly pur- 
pose. One of the uses to which water 
is put in this type of film is "to drown 
the villain. 




// drawing room deluge in " Circe the 
Enchantress." 



22 



Picture s and Pichure pver 





Top: A character m " Romola" comes to a 
watery end. Top Right : Joan Lockton and 
Henry Victor in " The Sins Ye Do." Above and 
Right: Any girl and any ocean make Eugene 
O'Brien romantic. 

villain-in-chief finds a watery grave in 
the river Seine. 

In The Happy Ending, too, the villain 
— or perhaps it would be more correct 
to say the " villain-hero " — dies by 
drowning, although his end is far nobler 
than that of most of his ilk. Most of 
the scenes in this film are river scenes, 
and were taken on the Thames, wbose 
beauties have been used far too seldom 
as a background for British films. 

'"There is one characteristic, possessed 
apparently by all films, that I should 
just like to mention. In screenland, it 
appears, the old saying " It never rains 
but it pours " is literally true. It never 
comes down in a gentle drizzle, as it 
might be expected to do, but pours down 
in bucketsful as though a second Deluge 
were at hand. Invariably, too, when it 



APRIL 1925 

rains, there i-s a regular young tornado 
of a wind whistling round the house- 
tops and down the chimneys, blowing 
up trees by their roots, smashing down 
bridges across flooded rivers, and 
jeopardising the life (if not the per- 
manent wave) of the heroine, who 
always happens to be out in it all. 

Dut perhaps this, after all, can hardly be 

blamed on the producer who certainly 
labours under great natural disadvan- 
tages. The fact is that rain — real rain 
— will not photograph at all, and so 
water has to be pumped down from 
great pipes, and blown about with a 
wind machine, to achieve the desired 
effect. 

A. dark background is an essential 
if heavy rain is to be photographed, 
also plenty of back lighting. Rain in 
single drops, as it often naturally falls 
will not register either. It must be 
regulated, and as many as eight layers 
of pipes may be used in one simulated 
rainfall. Thousands of holes are 
drilled in these pipes. There were 
approximately 57.000 in the pipes used 
for the small inn set used in M'Lofd 
of the White Road, and these were all 
placed so that the water was pumped 
up not down. 

But even this hardly explains why 
rain, on the screen, is nearly always 
accompanied by thunder and lightning 
of a most hectic kind. It doesn't ex- 
plain, either, what a singular quality 
there is about screen water that renders 
it wet only when it is coming down. 
For it is an undisputable fact that film 
folk who have been out in the rain. 
fallen into a river, or encountered any 
other similar mishap, seldom remain in 
a state of dampness for more than one 
second after they have gone indoors 
again. 

To misquote the Ancient Mariner, it 
is a case of " Water, water everywhere. 
— and nothing; very wet!'" 

E. E. B. 




■ ;..; V,:** 



■i . 



:». 



Jk 



ir 






Above : William Russell in " When Odds Are Even," was wounded by the 
waterside but decided it had its compensations. 



APRIL 1925 



Picture s and Pichjre poer 







* 



k 



THE principles of physiognomy 
embrace the obvious relationship 
between feature and character 
Strength is denied by one section 
of a face, only to be affirmed more 
definitely by another; and so, by a 
shaded selection, we may arrive at a 
bound at a true estimate of character 
without long study, intimate knowledge 
and personal information. 

The snap judgment formula is in 
most cases successful. In this journal- 
istic series of articles I do not attempt 
to do more than scratch the surface in 
a rapid summary, accenting here, focus- 
ing there. It would seem comparatively 
a simple thing, but it is not always so 
simple or so certain. Lois Wilson's is 
a case in point. 

"TO begin with, her features seem bent 
upon a conspiracy of concealment. 
I do not mean that she is secretive. I 
do mean that temperamentally, under- 
neath whatever front she may show the 
world and those she comes in contact 
with, she is extraordinarily reserved. 
That is not shyness; on the contrary 
she is sure of herself and knows how, to 
employ the old phrase, to fall upon her 
feet. It is simply, as I have indicated, 




limited 
of her 

of a 
The 



a temperamental twist of 
character that is very seldom 
found in professional people 
of any kind. 

She has excellent con- 
centration indicated in the 
broad brow and well-knit 
eyebrows. The forehead is 
extremely thoughtful, and is 
only by the feminine quality 
mind. 

This feminine quality is 
dominating kind in the nature 
eyes reveal it unmistakably in their out- 
line, shape and placing. Her attitude 
towards men, I should deduce, to be of 
a gentle, somewhat maternal, and highly 
amused variety. The truly feminine 
woman does not actually respect the 
ideas and purposes of men. Forced by 
circumstances to regard them with 
apparent seriousness often enough, she 
invariably looks upon them privately 
with a certain polite derision. 

To the character under survey here, 
men must be like that. She must regard 
them as boys, full of absurd solemnity 
and much wordiness, signifying, as a 
better writer has said, nothing. 

She is conservative, and her opinions 
are conservative. There is tenderness. 



I Lois 
Laughs 



Her attitude to men is of a " gentle 
maternal, highly amused variety," 
declares Vincent de Sola in this 
character analysis of Lois Wilson. 

a sympathy of broad outlines, and great 
hopefulness in the mouth. 

There is no tumult here, and small 
clash of opposing traits. The eyes reveal 
a certain tendency to brood, a certain 
moodiness now and then, but the face 
is too well-balanced to permit this to 
dominate the general note of quiet 
humour. 

A LTHOUGH this character is simple 
and not complex, it is in perfect 
harmony and is able to attain its ends 
with. little difficulty. She is quick to 
analyze, or in erpret a person or situa- 
tion to herself, and once this is done, 
she seldom changes her mind — a weak- 
ness at times. Her code is probably an 
instinctive one, born with her, and she 
submits everything to that code, like an 
acid test, except — the code itself! 

In other words, this is a woman who 
knows exactly what she wants. Most 
people merely think they know. They 
struggle for things they have no real 
desire for. Her face is somewhat 
maternal in type, having this quality in 
common with Mary Picktord's, and like 
most maternal faces it is extremely 
practical in the things that deeply con- 
cern it. 

She holds as her public those who 
wish to see the sweet girl part repre- 
sented by someone who is not entirely 
acting that part. Her work is not 
spectacular, but it is always satisfying. 

In this lies her success of the present 
and her chances of success in the future 
Emotional, her eyes and lips actually 
declare her, but her features deny her 
the willingness to exhibit that emotion 
openly, after the manner of actresses. 
She relies on her reserve. There is 
no tendency in her to hurl her character- 
istics at the gaze of her audiences. 
Rather she prefers to suggest these 
with a hint, when she does not hold 
them back completely. She would, wo 
think, be admirably adapted to the 
typical Barrie heroine, a compound of 
simplicity and sweetness of character 
plus quiet but incredible ability to 
secure her own desires against any 
obstacles and in any situation. 



24 



Pictures and Pichjre$uer 



APRIL 1925 




ePersiste 
p <^Ksor\ 



Like the poor, the screen Parson is 
always with us. He's in ten out of every 
twelve films, even if only for a few flashes 

Since the day when D.W.G. thrust 
upon an astonished world his 
mighty spectacle Intolerance and, 
in it, devoted three of his four 
stories to religious intolerance, we 
have had many stars from Lewis Stone 
to Gustav von Seyfrertitz playing 
clerics and seen many films in which 
a clergyman has a leading part. Now, 
from a close and continuous study of 
this aesthetic aspect of the film, I am 
able to indicate in a slight degree the 
function of these celluloid saintly 
gentlemen. 

A few years ago, it was a favourite 
hobby of authors and playwrights to 
take for their main character a clergy-, 
man who had some very strong wordly 
interest — generally in a lady — to com- 
bat his spiritual leanings. In other 
words he has to struggle against the 
World, the Flesh and the Devil. We 



They had a real clergxmau for "Tess of 
D'Urbervilles." 

see him struggle in The Voice from 
the Minaret. Eugene O'Brien as a 
young clergyman, is in love with a 
married lady, which, considering the 
married lady is Norma Talmadge, is 
very natural even though it is very 
naughty. 

However, " all's well that ends well " 
and after a few reels of passionate 
embraces and scenes of bearded 
gentlemen calling the faithful to 
prayer. Norma's cynical, sinister hus- 
band — who by the way is not played 
by Adolphe Menjou — has the decency 
to die of heart failure and leave his 
wife — or rather, his widow, free to 
marry the man she loves, which she 
does and " lives happily ever after." 

In The Christian, the same theme 
was carried to a different conclusion ; 
Richard Dix as " Father John Storm " 
loved Mae Busch as " Glory Quayle " 




APRIL 




Pictures and P/ctvreQuer 



25 



anything, but it was not through any 
"heavy father" business thai the pro 
ceedings came to naught 

i h m ■ j pe of cleric could not be 
heavy if he tried. H< is earaeal 
and apologetic, and short-sighted 
lx>th mentally and 
cally; in addition t<> the 
strain of his daughter's 
amorous tendencies he 

always lias a rival concern 

to bother him; with 
Edward Connelly, it was a 
rum-palace owned by a 
"lough" sea-captain " name 
o' Hull Gregson," with 
Jerrold Robertshaw it was 
a neighbouring mosque. 



The classic comedy clergyman. Chaplin in 
" The Pilgrim." 

have written rather flippantly of this 
film, but as a matter of fact it was a 
singularly beautiful and dignified pro- 
duction, quite as good as another story 
of which it is so reminiscent — 
Romance with Doris Keane and Basil 
Sydney, another, parson-cum-artiste 
story. 

Then there is the missionary whose 
daughter falls in love with a native. 
Edward Connelly in Where the Pave- 
ment Ends, and Jerrold Robertshaw in 
The Arab saw his daughter Alice 
Terry in love with Ramon Novarro, a 
native. Neither love afifair came to 




Alec Francis usually typifies 
the saintlv sort. 



Both had to COttlbal tin apath) 0( tin- 
natives and both retui land. 
Pooi dean, they m< ant well ! 

But not all missionaries are dear old 
nun. lu the Morriagt Cheat, the 
missionary played by Percy Marmot*, 
is sufficiently young and athletic to fall 
in love with a married woman, h.< 

fight with the lady's cynical sinister 

husband who this tune was Adolphe 
Menjou inspire jealous hatred in the 

heart iif a native girl and swim 

through a naging sea to the rescue of 
his ladye [aire. in chit respect he 

cnnies near to the "fighting |>arson " 
whose Litest exponent will be seen in 
Madonna of the St> 

nriun there is the clergyman who is 
not a clergyman, in other words he's 
a card-sharper or a crook who, by 
some method or other, has to adopt the 
broad cloth. He is about to relinquish 
his unaccustomed and uncomfortable 

attire when he is mistaken for the new 
vicar who is just due to arrive — query, 
why out of all the places on this earth 
does our clerically camouflaged crook 
choose one where a new vicar is just 
due to arrive? — he has to carry 
through with his deception, he be- 
comes universally respected through- 
out the village, falls in love with the 
village belle and ultimately re- 
generates. Of such a kind was 
William Faversham in The Sin that 
was His, such a kind Charlie Chaplin 
burlesques in The Pilgrim. 

Also the Worldly Cleric, a type in- 
augurated by Tully Marshall's "High 
Priest of Bel' in Intolerance. 

Nevertheless the parson played 
either in lighter vein by a Chaplin or 
a Henson — or taken seriously by the 
De Bruliers, the Francis' and the 
Winter Halls will continue to pervade 
film plays, for he is ubiquitous and 
persistent. W. B. Turner. 




As the priest of " The Stor\y of the Rosary," Lewis Stone vitalised a classic American stage role, whilst Percy Marmont 
(Right) in "The Marriage Cheat" showed that missionaries are sometimes extremely human folk. 



26 



Picture s and Pichjre $uer 



APRIL 1925 




Above : Adolphe Menjou knows 
move in the game — whether it be 
or life. 

* ■ ^here was once a philosopher 
who said that if you would 
\, show him a man playing a 
game of chance, he would 
read you that man's character with 
scarcely a Maw. A gambler, how- 
ever skilfully he may cover his 
emotions, control his features and 
smooth his speech, is a man with 
his nature bare. His hands reveal 
it. His eyes reveal it. The moment 
is too strong for him. 

Perhaps that is one reason why 
the producers of films are so quick 
to hurry their characters to the 
gaming table when a dramatic 
climax is at hand. Perhaps they 
have realised that a player, with 
the cards or the dice in his hand, is 
himself raised, as it were to his 
highest power. Or perhaps it is just 
the thrill of the game, that intense 
breathless interest in luck and its 
changes that gathers an audience 
wherever two gamblers meet. 

""There is no thrill quite like it. So 
the crowds at Monte Carlo have 
always found. You will never see 
a gambling audience bored; they 
are as intent on the game as the 
players themselves, waiting in tre- 
mendous stillness for the turning 
of a card, the fall of the dice, the 
stopping of the roulette wheel. 
And, if they can make no money, 
they can lose none; if the personal 
sense of the drama is missing, they 
can at least glean every scrap of the 
drama from the faces of the players 
at their side. 

They play for big stakes. Some- 
times it is a matter of crisp new bank 
notes, mounting ever higher and 
higher in their heaps. Here is Hope 
Hampton with a nice little corner 
in them in Lcm'ful Larceny. And 



Above : Dustin Farnum in " The Man 

Who Won " doesn't look any too elated 

over it. Left: Hope Hampton, and Leu 

Cody in " Lawful Larceny " 

Lew Cody doesn't look too happy, 
does he? But it's a gala night for 
the watchers round the table. Give 
them high stakes and a luck that holds 
and they are in heaven. 

Sometimes it is small coin, ana 
plenty of it, with the crumpled bills of 
long-carried earnings to swell the 'pile. 
Here is Betty Compson with a master 
hand in The H'liite Sltadon-, and here 
is a dramatic moment from The 
Spoilers, with Milton Sills, Wallace 
MacDonald and Anna O. Xilsson. The 
latter as Cherry the adventuress, has jus t 
caught the younger man's gun-hand in 
the nick of ti me, a nd Milt, who doesn't 
want to fight a 
hot-b 1 o o d e d 
youngster for 
nothing at all, is 
glad enough to 
sheathe h is 
own gun. 
Notice t h e 
half - o p e n 
table drawer, 
a familiar 
sight in gam- 
ing films of 
the west. If 
you had a 
guinea for 
every gun that 
has been 
whipped out 
of a table 
drawer in the 
A little gamble in " The White Shadorc." movies, you'd 




APRIL 1925 

be paying super-tax before the year's 
out. 

Here is Dustin Farnum living up to 
his name in The Man Who Won. He 
looks a bit solemn about it, a little 
Conway Tearlish. Perhaps he is 
thinking that the stakes might have 
been higher; and indeed, it he has 



Pictures and Pic t\j retype r 



27 





" Cherry " takes 

a hand in " The Spoilers." 



seen many of these gambling episodes 
in pictures, he has good right to be 
grieved over the modest pile that 
William Fox has given him for his 
winnings. 

But there are stakes and stakes. 
Sometimes the game has a grim signi- 
ficance of its own, and stands for a 
human life. Sylvia Breamer and 
Russell Simpson, playing cards so 
intently over the table in The Girl of 
the Golden West, are not enjoying a 
little pleasure party, although there is 
no money to be lost or won. Sylvia 
has come in the middle of the night to 
play with the Sheriff for the life of 
her lover. 

She doesn't mind cheating to save 
him, either. 

"Then there is the famous gambling 
scene in The Street, where the two 
crooks and their woman decoy have 
caught a pair of middle-aged fools and 
are pitting them at cards one against 
the other. It doesn't much matter to 
the croolcs which of the pair comes 
out a winner. The point is to get all 
the money and valuables into the hands 
of one man, and then to rob him of it. 
And the two victims play with all they 
possess, down to their employer's 
cheques and their own wedding rings. 
And do you remember the scene at 
Monte Carlo in The Prodigal Son, 



Hearts are 
trumps in " Reveille." 

would rather not play at all than not play square. 
Here is Irene Rich, dreadfully honest with her- 
self in a lone hand in Being Respectable. She is 
playing the eternal wife's game, patience. The 
reason is leaning over the arm of her chair, 
looking very sheepish and very loveable. 

Then there is Betty Balfour playing in an old 
ladies' foursome in Reveille. I guess she's 
winning by the smile on her face when she turns 
up that king < hearts. For 
hearts are trumps all the 
time when Betty 



happens along. 

No, we couldn't 
d o without the 
gaming spirit in the 
movies. It brings 
nut the characters 
of the players. 
Gamblers all, for 
drama's sake, hon- 
our be yours and 
fame ! 

Left : The stake 
was a man's life in 
"The Girl of the 
Golden West." 
Below : Irene Rich 
plays every ztnfe's, 
game — Patience 
in " Being Re- 
spectable" 




when the prodigal is fleeced by the 
woman of his last penny? And Dr. 
Mabuse, the great unknown — Dr. 
M abuse the Gambler as he was called 
Germany — who hypnotises his 
opponents into playing the cards he 
has in mind? 

High stakes — high-hanaed methods 
— high drama every time ! 

But there is in the movies another 
circle, a modest card-playing and 
chess-playing circle, which has no 
sordid thoughts of dollar bills, and 



28 



Pictures and Pict\jre$ver 



APRIL 1925 




SAM DE GRASSE 

A sterling actor v. hose best work went into "Robin Hood," as "Prince 

John." He hails from New Brunswick and commenced his career with 

D. IV. Griffith. Sam has black Ixair and dark brown eyes. 



APRIJ- 1925 



Pictures and PichureQuer 



& 




AULA NAZIMOVA 

The Russian star who retired from the screen and has only recently 

returned. Alia was born at Yalta, Crimea on May 22, 1879, but, watching 

her on the silversheet it is hard to believe it. 



30 



Picture s and Pi chare poer 



APRIL 1925 





R^ 



MOLLY JOHNSON 

A British film artiste now on the stage in New York in " Old English ' 

with George Arliss. Molly is twenty-tzco, with light hair and blue eyes, 

and her latest films are " The Dream " and " The Duke's Secret." 



APRIL 1925 



Pictures and H/c/x/repoer 



31 




TONY MORENO 

Who hails from sunny Spain, and has all the romantic fascinations of his 

olive-skinned countrymen, has just finished playing lead in " Mare 

Nostrum " Rex Ingram's latest picture offering. 



32 



Picture s and Pichjrep uer 



•\PRIL 1925 




ALLEYNE RAY 

Winner of a Beauty Contest in which Mary Pickford, David Belasco, 

Stuart Blackton, and Maurice Tourner were the judges. She hails from 

Texas and is a fearless rider and swimmer. 






APRIL 1925 



Pictures and Pictvreover 



Left: Norma 
Shearer's large 
panne velvet hat 
is trimmed with 
two .large tinsel 
roses. 

Right: Alice 

Terry wears a 
rhiffon. feather, 
and oxydised 
lace creation in 
" Confessions of 
a Queen." 






Ike Screen 
rashiorv 

Rare 



Above: Closely set 
flowers form the 
crown of Laura La 
Plante's spring hat; 
Left and Right: The 
charm of the small, 
close-fitting hat ex- 
emplified by Eleanor 
Boardman and Alice 
Toyce. 



Colleen Moore s smart felt is trimmed 
with gardenias. 




A smart black silk and white tulle 
creation with a feathery mount. 



34 



Pictures and P/c/~\jre$UE>K 



APRIL 1925 



FooHiqShhs ok Shadows 

chj Bizabef'h 



benlyorv 

A newcomer to the movies who prefers 
the screen to the stage. 



Ben Lyon was finishing his first 
part in which he was a co-star 
and, naturally, was all 
thusiasm for the screen. 

" I started to be an actor," he said 
to me as we chatted over luncheon in 
the Studio, " and I had great hopes of 
being a star of the stage but now I 
find that I prefer the studio to the 
theatre and hope some day to 
reach the top of the ladder. 

" My first part was in 
' Seventeen ' (a juvenile 
play by Booth Tarkington). 
I played the rich little boy 
who was more or less of a 
snob. Didn't care so much 
for the type of part but the 
play stayed two years on 
Broadway and then I received a 
juvenile role in ' The Wonderful 




The tiny folding 
gramophone seen above 
ivas a present from 
England from Gloria 
Sivanson. 




Ben Lyon in 
"Lily of 
the Dust." 



%Gs&m&&&&RBmBm 



Ben Lyon in " The Wages of 
Virtue" 

Thing ' which Jeanne Eagels, the 
star of ' Rain ' played. 

" Then I went on the road with 
' Three Live Ghosts ' and later in 
' Sun Up * and realising that I 
needed experience in different 
types of parts, I joined Jessie 
Bonstelle's Stock Company and 
for eight months played a great 
number of roles. 

" Next came ' Mary the Third ' 
in which Louise Huff also played 
and when the show closed, I had 
my first offer for pictures. It was 

in the first Potash and Pcrlmuttcr picture directed by 

Clarence Badger for Mr. Rowland of First National. 
" It led to an offer to go to the coast and while there 

I made several pictures for First National and two for 

Famous : Lily of The Dust with Pola Negri and Wages 

of Virtue. 

" Now I am back in the East working for Earl 

Hudson — First National and I hope with all my heart 

that I shall make good." 

'""There is much less hardship in a screen career," he 

^ said. "No long jumps and one night stands, no 
uncertaint} as to whether the play will be a success or 
failure and no long waits between engagements. 

" The size of the audiences, too. is important to a 
beginner. On the stage, you are limited to the people 
of one city or to those you reach in your tour. Others 
have never heard of you but screen audiences are 
limitless. 

"Will. you ever go back to the stage?" 

" Probably, but not for a while. I am enjoying the 
pictures so much and feel that I want to give the best 
that is in me to my work. Later — who knows?" 



APRIL 1925 



Pict \jre s and Pi ct\jre pver 



35 



C&ptaJ r\ Blood 

BY JOHN FLEMING 

Narrated by permission from the Vitagraph film of the same name. 



Footsteps clanged dully down the 
flagged passage without the cell 
doors and Peter Blood raised Ins 

bowed head and listened intently. 
The hangman? The hangman, come *o 
take him into the square and stretch 
him before a thousand inquisitive eyes? 
Afterwards he would be drawn and 
quartered and .his name would be a 
bye-word with the riff-raff of the 
gutters. In imagination he could see 
the derision that he would never survive 
to see, and a sneer of bitterness crossed 
his lips. He rose to his feet, walked 
proudly down the cell and stood at the 
door waiting. 

And yet, for all his felon's cell, this 
Peter Blood was no criminal. A 
physician who had attended a nobleman 
who had supported the Duke of Mon- 
mouth in his rebellion against JamesII; 
such was his rank and such was his 
crime. But that " crime " had come to 
the ears of the king himself, and this 
was the punishment — to be hanged, 
drawn and quartered, like a thief or a 
murderer ! 

T^he jailer rattled his keys and thedoor 
fell back. Doctor Blood stepped 
out briskly and with head raised, but 
his eyes did not meet those of the hang- 
man, for the .hangman was not there. 
He looked round and found that all the 
cells in the gaol were similarly being 
emptied. And presently, to their great 
astonishment, they were formed into 
ranks and marched off under a strong 
guard to the river-side. Without any 
explanation being forthcoming, they 
were taken aboard a great ship and 
chained below — herded together any- 
how, Peter Blood the physician next to 
a cut-throat from Shoreditch. And it 
was here, suddenly, that the truth burst 
upon Blood in all its ugliness. He had 
heard of such cases before, of course. 
There might be much to be said for 
killing off a criminal, but a dead man 
was unprofitable. And the noble king 
could replenish his coffers to the extent 
of ten pounds a man by selling his 
criminals intp slavery. That was it ! 
This was a slave ship, and they must all 
be bound for Barbados ! 

Peter Blood sank despondently into 
the corner of the gloomy hold and 
buried his face in his hands. 

Of the two fates he was not now sure 
that he 'did not prefer hanging. 

Barbados in the days of James II was 
even more remote from the softnesses 
of civilisation than it is to-day. Colonel 
Bishop was head of the Militia, and he 
it was who invested ten pounds a head 
in Blood and eleven others of the slaves. 



Blood wi-.s on tin verge of 
being passed over, Bishop 

Considered him a surly look- 
ing brute; but the colonel's 
daughter, Arabella, was pre- 
sent when the 
" cargo " was 
unshipped and 
found herself 

strangely interested in 
the unkempt doctor. There 
was something in his bearing, 
for all the indignity of his position. 
something in his voice when he pro- 
tested against the keeper's handling of 
his outcast mob, that compelled this 
interest. She pleaded with her father, 
and much against his private inclination 
he made his twelfth purchase. 

It was a life almost beyond belief, a 
fantastic life, an unthinkable life, to 
which the slaves were now cast. All 
day long they toiled in the fields on the 
island, yolked to ploughs like human 
oxen. Cattle ! Nothing more, and 
cheap cattle too. If their labours 
flagged . . . there were whips . . . 

However, Blood managed to escape 
most of this after the first few days, 
for he was the only man in Barbados 
who could relieve the Governor's gout, 
and Bishop soon found him more useful 
as a doctor than as a plough-dragger in 
the plantations. By night he lived in 
the compounds with the other slaves; 
but by day most of his time was occu- 
pied at the Governor's residence. This 
brought him often in proximity to Ara- 
bella, Bishop's daughter, and once, 
greatly daring, she spoke to him. 

" You are used to 
this?" she hinted. 

"Used to it?" He 
smiled bitterly. " No 
man is ever used to it, 
Madame." 

" To medicine?" 

" Ah. I thought you 
meant to slavery. Yes, 
I am — used to this Or, 
I was . . ." 

She said no more, and 
after a moment's hesitation walked 
away. But afterwards she would stop 
and exchange a few words with him, 
and in the days that followed he would 
find .her furtively watching him as often 
as she found him furtively watching 
her. A fantastic kind of friendship 
sprang up between them, almost empty 
of words. 

One day a ship drew in close to the 
island, bearing the English colours, and 
it was not until the unsuspecting 
islanders found themselves facing the 
cruel swords of Spain that they realised 




Jack Warren Kerrigan as "Captain Blood." 

the deception. Unprepared, the 
colonists had no means of defending 
themselves, and very soon the island 
was in the clutches of the Spaniards 
completely. In one little particular the 
invaders thought they showed their wis- 
dom. They set no very firm guard over 
the slaves. Slaves have not the intelli- 
gence (they argued) to plot escape. 
Slaves are the riff-raff of nations. In 
short, cattle. Leave them to sleep in 
the fields, and they will be there when 
morning dawns. 

But the Spaniards were reckoning 



36 



Pich\ires and P(c/\/re$&er 



APRIL 1925 




Rouse your servants at once and get away to the north of the island at once." 



-without Peter Blood. He was a slave 
of a variety outside their experience. 
And so he was able, during the evening, 
when the Spaniards were ashore, loot- 
ing and drinking, to go by back ways 
into the town itself and look about and 
make plans. Plans that an ordinary 
slave would never have the wit to make. 
He turned a corner towards the shore, 
his eyes ready for the slightest mis- 
chance, when suddenly he was aware 
that a dishevelled woman was running 
towards him, .hotly pursued by "a 
Spaniard. He drew back in the 
shadows and waited. The woman came 
abreast of him ; then the Spaniard. And 
then he sprang from the shadows with 
sword flashing. 

Tt was a swift fight; so swift that the 

Spaniard had little time to realise it 
was a fight. It ended almost as soon as 
it began; and it ended with the 
Spaniard dead on the street. Then 
Blood turned to the girl — for she was 
little more than a girl. 

" Who are you? Where are you 
from?" he asked. For the light was 
bad and at first he did not recognise in 
her one of Bishop's .household. 

" Arabella Bishop's friertd, Mary 
Traill," she sobbed; and then as she 
gave signs of developing inconvenient 
hysterics he took her arm and hurried 
her up to the Governor's house. 

" Rouse your servants at once and get 
away to the north of the island," he 
said to the two ^irls. " It is barren 
there and the Spaniards know it. They 
will keep to this end of the place and 
most likely depart pretty soon. They 
are busy rioting now, and you will get 
away unseen." 

Leaving them to make their prepara- 
tions, he hastened to the compounds, 
and roused his fellow slaves. 

" Form in line." he commanded. 



" Keep quiet and follow me." 

They fell in at his word as if he 
had always been their commander and 
never their fellow-slave. In the black- 
ness of night, silently 'as the night itself, 
the long line of desperate men crept 
down the hillside to Barbados harbour. 

Next morning the islanders, con- 
siderably poorer than before the 
Spaniard's visit, gathered on the shore 
to watch the enemy depart, heavy of 
spirit but bitter, too. One by one, like 
wooden sneers, the boats pulled off, the 
first bearing Don Diego, the Spanish 
leader, and his son, and filled with 
stolen treasure — " ransom " it was con- 
veniently called. The others, some 
score of them, contained Don Diego's 
men, half-drunk, shouting and singing 
their victory across the waters. A 
quarter of a mile out rode their great 
ship, and the nearer they came to it 
the louder they cheered, laughed and 
Sang. 

Cuddenly an unlooked-for thing 
occurred. Don Diego's boat reached 
the ship's side ; a rope ladder was 
dropped and Don Diego and his son 
ascended to the decks. And at that 
moment the galleon's guns spat and one 
by one the boatloads of Spaniards be- 
.hind sank to the bottom of the ocean. 
Don Diego was safe in his own ship. 
but not a man of all his crew survived. 

A great cry arose on the shore. 

" Somebody from the island has cap- 
tured the vessel !" 

"Smart! Smart! Clever work!" 

" See — the British flag is flying from 
the mainmast now !" 

And so it was. Without more ado. 
Colonel Bishop ordered a boat to be put 
out and straightway rowed to the 
galleon to do the unknown heroes fitting 
honour. His joy at discovering his 
stolen treasure intact was almost as 



great as his amazement at discovering 
that the unknown heroes were none 
others than his own slaves, under Blood, 
the physician. But his surprise over he 
gave some show of being — for Colonel 
Bishop — magnanimous. . 

" This shall be reported, I promise 
you," he said. " I do not doubt that I 
shall get some of your sentence remitted 
for your conduce to-day." 

" Some of it?" gasped Blood. 

" Why, certainly," said Bishop, 
smugly. 

There was a short silence, and then 
a hoarse cry arose from somewhere. 

"String him from the yard-arm!" 

Bishop fell back. 

" What ! You dare—" 

His face was gone suddenly white. 
He looked from the eyes of Blood 
calmly smiling into his, to the brutish 
eyes of the slave crew, some of whom 
had been human " cattle " for many 
years now — so many years that they 
were more cattle than human. But 
Blood only burst into ironical laughter. 

" No," he conceded, " this time I'll 
refrain from taking their advice. This 
time . . . But something must be done 
and we'll do it very soon. Can you 
swim ?" 

"Y-yes. . . ." 

" Good. For you. . . ." 

They turned to sea, holding th.e 
Colonel until they were well out of 
range of the guns at Fort Barbados. 
Then, with a polite farewell from 
Blood. Bishop was dropped over the 
side into the water. As he set off to 
swim back to his home a derisive cheer 
arose from the appropriated decks be- 
hind. 

" T wonder," mused Blood, watching 
1 from the rails, "if he'd be swimming 
now, if he were not the father of Ara- 
bella?" 

He repeated the name softly once or 
twice and then called one of the slaves 
towards him. 

" If there is paint below we must 
make a change in this good ship's 
name at the first opportunity." he 
ordered; adding after a moment's 
consideration — " Henceforth she shall 
be called the Arabella." 

So did the Arabella take to its new 
life on the high seas. So, there being 
nothing else for it. for he was in com- 
mand of another man's ship and had 
stolen it — so did plain physician Blood, 
one time of St. James', become Captain 
Blood; the notorious Captain Blood. 
the most daring buccaneer that ever 
sailed the Spanish Main. 

The fame of Captain Blood spread 
across the world, across the ocean to 
England. Where, to everyone's sur- 
prise, it met with rather a different 
reception from the one anticipated. 
Strange tales of his exploits had come 
in by the score in the two years that had 
gone by since he had left Barbados; 
and it was everybody's firm conviction 
that sooner or later the king would give 
firm orders for his extermination. Such. 
however, was not the case. 

" Find me this man," the King com- 



APRIL 1925 



Pictures end Pic t\j reaver 



37 



mantled one day. " Do not get him — 
find him. A fellow so daring would Ik 
more than useful to me in the Navy. I 
would 1 had more like him. If he is 
willing I will grant him a commission 
and a free pardon at the same time." 

He entrusted his commission to Lord 
Julian Wade, and Lord Julian Wade 
set sail from Southampton Water in 
May to scour the seas for the notorious 
Captain Blood. Later in the summer ho 
put in at Barnados for news, but no 
first-hand news of the buccaneer had 
been received on the island since his 
departure. Plenty of stories of his ex- 
ploits had come through, but as for the 
man himself, not a hair had been seen 
in the two years. Lord Julian stayed 
overnight in the town and next morn- 
ing, after taking aboard stores and a 
passenger, took his departure. 

The passenger was Arabella Bishop. 
Since the eventful days of two years 
before her father had been promoted 
Governor of Jamaica, and she was now 
on her way to join him. Lord Julian, 
always ready to spend much time in the 
company of a beautiful girl, chatted 
with her freely, and once in her hearing 
wondered if they would come up with 
the famous Captain Blood in the 
journey to the West Indies. 

"I sincerely hope not!" snapped 



Arabella. 
And she was sincere indeed For nut 

all the tales that h.ul COSIC through 

about the buccaneer had been .in truth- 
ful as they might have been, and t) 
was more than one of tlu- fictions that 
was concerned with some charming lass 
in ports far across the ocean. Blood, 
all unknown to himself, had acquired a 
reputation for other things than 
bravery. Arabella Bishop wished 
never to see him again. 

" If — " began Lord Julian. But the 
sentence was never finished. Wild cries 
arose down the ship. Great volumes 
of smoke began to arise, and very soon 
it was plain to every soul aboard that 
the vessel was on fire. Every man fell 
to with a will supplemented by frenzy, 
but it was soon seen that their com- 
bined efforts were to be as nothing 
against the fury of the flames. In 
terror Arabella turned to Lord Julian. 

" What can we do?" 

" I will have the boats lowered. So 
long as the men do not mutiny — " 

" If they do—?" 

He said nothing, but his face was 
grave. 

Suddenly a cheer arose. They looked 
along the rails and found a sailor point- 
ing. Unseen in the turmoil another ship 
had come in close and was even now on 



the jxniit of lowering boats to their 

!■ i md Julian fumbled f"r his 

telescope and Boon was spelling out the 

name of the newcomer. 

" A R AH... Why, the 

ArabtUa Captain Blood'* boat I ii 

" 'I'hv-- Arabella \ Is that what he 
calls it?" gasped the girl. And the \» • r 
nodded 

He Wl CCited to notice her 

frown. All hands now left the fire to 
take its own course and busied them- 
selves with the boats. In a quarter of 
an hour, with the help afforded by 
Blood's boats, every man had been taken 
off the burning ship and given safety 
on the Arabella. Blood's pleatUTi 
once more meeting the daughter of 
Colonel Bishop was unbounded, but 
quickly was it damped when he saw 
that, for some reason he could not 
gather and which she was reluctant o 
explain, his pleasure found no reflection 
in her. He bowed, turned away, and 
went below with Lord Julian, who was 
eager to acquaint him with the details 
.of his commission from the King. 

ETor the remainder of the voyage they 
might have been unaware of each 
other's presence. Three days later the 
Arabella put in at Jamaica. 

But things were not so smooth run- 




/ wonder," mused Blood, watching from the rails, "if he'd be swimming now, if he were not the father of Arabella?" 



38 



Pictures and Pichjrepver 



APRIL 1925 




Between them they settle a the " when " of it. 



ning as the King had planned. Once 
again Captain Blood fell foul of Colonel 
Bishop. Some of his men refused at 
any terms to join the King's Navy, and 
these Blood permitted to go free. This, 
according to Bishop, was a violation of 
the buccaneer's commission, and he 
made preparations to effect the latter s 
arrest. But Blood's nimble wits, aided 
by his pistol contrived to get him out of 
this scrape; and once again the Ara- 
bella took to the high seas a pirate ship, 
under the command of Captain Blood, 
who was still a pirate. 

And so another year went by. 

Tn the meantime James II was deposed, 
*■ and William III became King of 
England. Changes took place every- 
where, at home and in the colonies. 
And one day, to his dismay, Colonel 
Bishop learned that Lord Willoughby 
was coming out to Jamaica as Governor- 
General of the West Indies. At once 
he realised what this meant. Now 
that James was no longer king it meant 
that Captain Blood was no longer an 
outlaw. If the Colonel were ever to 
earn revenge of this upstart pirate it 
must be soon or — never. And so, be- 
fore Lord Willoughby had time to 
arrive in the west, Bishop called out 
his fleet and set forth to scour the seas 
for Blood and send him to the ocean's 
depths. Twice .had h.e been thwarted 
by this fellow. Payment was overdue. 
Meanwhile, not far across the seas, 
a little drama that might have turned 
Bishop back in his tracks, had he known 
of it, was being enacted. Lord 
Willoughby, on his way to Jamaica, was 
suddenly attacked by the fleet of France, 
with which country England was at 
that time in a state of war. Willoughby's 
ship was sunk and Willoughby himself 
callously turned adrift. It seemed that 
he must surely die ; but no — for almost 
as soon as the French fleet was out of 
sight to the north, into sight in the 
south came the Arabella and picked up 



the distressed peer. 

" For which," as Willoughby after- 
wards admitted to Captain Blood, " no 
gratitude of mine can ever be sufficient." 

He informed Blood that he was on 
his way to Port Royal, Jamaica, to 
take up his new post ; and without 
more ado the buccaneer commanded 
his fleet to turn about and conduct the 
peer to his destination. For indeed it 
was now a small fleet that Captain 
Blood commanded. 

They set sail. Night fell. And 
when day broke, the little fleet of Cap- 
tain Blood found itself surrounded by 
the French squadron, on its way to 
attack the undefended island. 



CAST: 

Capt. Blood J. Warren Kerrigan 
Arabella Bishop - - Jean Paige 
Col. Bishop - - Wilfrid North 
Jeremy Pitt - - Jas. Morrison 
Mary Traill - Charlotte Merriam 
Don Diego - - Bertram Grassby 
Lord Julian Wade Allan Forrest 
Lord Willoughby- Henry Barrows 



" I may be a pirate, but I'm an 
English pirate. Fall to, men," was all 
Blood said. 

And they fell to as never they had 
fallen to before. They fell to, not like 
a crew but like a nation. It was not a 
fight ; it was a battle, and it was not 
over until near to sundown. And 
then. . . 

Victory. 

Victory, pathetic, strange. For 
Captain Blood's pride, his flagship the 
Ambella was down on the ocean 
bed, and most of his little fleet was 
shattered. To be sure not a French 
ship remained afloat; but Blood had 
loved the Arabella almost as much 
as he loved the one whose name he 
had taken for the ship. 

Victorious but broken, the remains of 



the buccaneer's tiny navy crept into 
Port Royal as the sun dipped. 

"And now?" quieried Blood ruefully. 

" And now," said Lord Willoughby 
with a smile — " and now, sir, I appoint 
you Governor of Jamaica." 

" What !" 

" One of my first duties was to 
replace Bishop. Let us go at once to 
the Government House and — replace 
him." 

Bishop, however, was not to be 
found. He was still out upon the 
high seas searching for his old enemy. 
He did not come in, indeed, until 
morning. Then he strutted up to the 
Government House with some of his 
old swagger, for all his disappointment 
at not being able to find Blood. 
Strutted up, he did, and kicked open 
the door of his official room and . 

And found Blood sitting there at his 
own desk ! 

"What! What! You! Here? 
You — you — pirate. . ." 

He stormed across the room and 
thumped his fist on the desk. 

" You are under arrest." 

" On the contrary," said Blood, 
smoothly, " you yourself are under 
arrest." 

" What do you mean, you infernal — " 

" I mean," announced Blood, " that 
Lord Willoughby, who this moment is 
sleeping' above our heads, has been 
good enough to appoint me Governor 
of Jamaica. You are under my 
orders. And I arrest you." 

" What !" 

A 11 the colour drained from Bishops 
^^ face. He swung about, started for 
the door, stopped on seeing it guarded 
by Blood's men, and suddenly sat 
heavily on an uncomfortable chair he 
had always reserved for visitors. 

" But—" 

" But," Blood amended, " if you care 
to retire to your plantation in Bar- 
bados, perhaps I can persuade the 
Government at home to forget your 
existence." 

Bishop looked up hopefully. 

"Go upstairs to your old room and 
think it over. See me later in the 
day." said Blood. And with his nose 
in the air again, Bishop strutted out. 

Outside. in v a quaint old tropical 
garden. Captain Blood came upon 
Arabella Bishop. 

" I — I have learnt all," she faltered. 

Blood waited, expecting congratula- 
tions. But it was not of his appoint- 
ment she wished to speak but of the 
rumours that once she had listened to, 
and the truth of which she had since 
discovered. 

" And when," he asked politely. " do 
you become Lady Wade?" 

" But — never . . ." she said, a look 
of surprise lighting her eyes. 

" I thought — " stammered Blood. 

" Foolish man !" said Arabella. 

" Ah," said Blood, " then — when do 
you become — Captainess Blood?" 

Between them, they settled the 
" when " of i{. 



APRIL 1925 



Pictures and Pict\jre$ver 



39 





r YoutK 



Four foot eleven of complete sincerity, 

ot indomitable courage and the will to 

win. A brave and characterful little star 

is May McAvoy 

Let me confess. 
I have my human weaknesses. 
There are certain stars in Lh« moving picture- 
world who arouse in me an intense admira- 
tion quite out of keeping with the value of their 
work; stars who make commonplace pictures in 
large numbers and rouse me to admiration still. 
Irene Rich is one of them. May McAvoy is another. 

I admire May McAvoy enormously. I have- 
always admired her. I do not see in her any qualities 
of great dramatic genius, competent and charming 
though her acting may be. I do not find in watching 
.her the beauty of a Negri or even of a Mary Philbin. 
But something comes into a picture with May McAvoy 
always, something spirited and resolute, something 
of fighting youth. 

She stands to me for courage . . . determination. 

She stands with her round little chin up-tilted, 
facing the world. 

Very small, and very strong. 

I can see her now as she breezed into my apart- 
ment one morning a little time ago, her cheeks pink, 
her deep blue eyes very bright, a black curl just 
escaping from under her close-fitting hat. Just four 
foot eleven, and slim and light as a fairy. 

" Here's an early bird !" I said. 

" Ah, but so many worms to catch !" she answered, 
laughing. " You can't think how busy I am, and 
how exciting it all is. I ought to have sailed for 
Europe days ago, but I've .had to- delay my trip to 
make a new picture for Universal,, called Jazz 
Parents. This is my first work with Universal, you 
see, and I simply daren't miss the opportunity." 

" I thought I heard — " 

"C\n, I'm sure you did, "she interrupted. "If it's about 
^^^ my engagement, you can say I am engaged to 
anyone you like. I'm not really engaged at all, but 
it will save trouble in the long run." 

" It was quite a different kind of engagement," I 
answered. " I was going to ask whether you really 
had been to Italy to play ' Esther ' in Ben Hur." 

" Sure," said May, nodding her head with much 
emphasis. " Isn't it fine? Think of me, actually mc, 
getting that part in Ben Hurl" 

" Half Hollywood green with envy?" 

" Three-quarters of it," she said, and beat a little 
tattoo of triumph on the drugget with her small foot. 

I said nothing, but understood the memories behind 
that tattoo. For May hasn't had it all honey in her 
film career. She has had to fight for her place, and. 
which is harder, fight to keep h', and, w-hich is hardest 
of all, fight to, get it back again, once lost. 

"Not all beer and skittles, is it May?" I asked. 

S.h.e looked across at me and smiled; a quick smile 
out of a face grave with thought. 

" I'm afraid of beer and skittles," she said. " They 
•turn your head and make it hard for you when 
things go wrpng again." 

" ^Nonsense, May," I said. " You know well 
enough that you are not afraid of anything in the 
world. You know well enough it's because you won't 



40 



Pictures and Pichjretyoer 



APRIL 1925 



let yourself be afraid that you have pulled through and 
got to where you are now. You know well enough that 
Ben Hur and Jazz Parents and all the others are the 
direct result of your not being afraid. Don't you ever 
dare to say such a thing to me again !" 

" Qh, but you've got me quite wrong ! I'm a terrible 
coward. Do you know I'm afraid of black cats and 
Fridays and walking under ladders and the number 
thirteen and spilling salt and — " 

" Don't sidetrack me," I said sternly. " I wasn't talk- 
ing about superstitions at all. Good heavens, you wouldn't 
be an actress if you weren't loaded with them ! What 
I meant — yes, before you go away I will tell you 
what 1 meant. It's time you heard some plain truths 
from somebody." 





Left: 
May snapped on 
the Ince Ranch 
whilst filming 
"Her Reputa- 
tion." Below : A 
clever disguise in 
" The Enchanted 
Cottage." 



" Please sir, all the truths I have ever 
heard .have been very plain," she said 
with the mock modesty of a Sunday 
school child. " I would bob you a 
curtsey, only your chair is too comfort- 
able." 

" I'll tell you," I went on, " some of 
the things I can remember, and you 
can just stop me if I am wrong. Well. 
first of all, I remember hearing about 
a certain little schoolgirl, not more than 
six years ago, who was going to be a, 
solemn schoolmarm, but who .had a 
friend in a vaudeville show. And one 
day when she was visiting that friend, 
there came along a friend of that friend, 
and he was a producer in a big film 
studio. Said the producer, magnani- 
mously, ' Come along to me any time 
and I'll give you a part.' Said May — 
did I tell you that the little schoolgirl 
was called May? — 'Oh, .how kind you 
are.' Am I right so far?" 




With 

a real 

old time 

Southern Mammy 

zvho played in one of her films. 

" Quite right. And that little school- 
girl dreamed of her good luck for days 
and nights." 

" I thought she did. And then, not 
long after, she went to the great pro- 
ducer's studio and asked him for the 
part. And there wasn't one. And that 
was her first bad knock." 

" It wasn't a good omen for a career 
just beginning," said May. " Perhaps 
that was what the little schoolgirl 
minded most — for she was always 
superstitious, you know." 

" Anyway, she wasn't going to be 
beaten. And she didn't wait for a 
beauty contest, or for some friend with 
influence to speak to some other friend 
with money, or for some famous star 
to fall ill on the lot and nobody 
there to deputise. She didn't do any 
of the things that other girls have done. 
She went right in and got a job in a 
propaganda film, to advertise sugar." 

" It sounds dreadfully unromantic," 
sighed May. 

" It sounds dreadfully sensible," said 
I. " And right now I'll tell you, May 
McAvoy, that I'm proud to know a girl 
like that. You — she — the little school- 
girl that I'm remembering about, made 
such a hit with selling sugar over a 
movie counter that the regular pro- 
ducers began to notice her, and to 
realise that she was extraordinarily 
photographic." 

" Do say, do please say, that she was 
pretty," pleaded May. " Never mind if 
it is true, but I slwuld like to hear you 
say it !" 

" S,he was very pretty," I agreed 
solemnly. " She was very pretty in- 
deed. She .had the longest, waviest 
black hair in the world, and the longest 
blackest lashes." 

" Thank you," said May, with a sigh 



APRIL 1925 



Picture s and Pichjre puer 



41 




As 

" Grisel " 

in "Sentimental Tommy." 

of content. " I only wanted to get back 
a little self-respect after The Enchanted 
Cottage. Everyone who meets me now- 
adays says right off. Why, how ugry 
parts do suit you, May McAvoy !" 

" Your worst friends, May," I said, 
" can't call you ugly. And that little 
schoolgirl I was telling you about — why 
do you assume, by the way, that I was 
talking about you? — pleased everybody 
so much with .her face and her talent 
and her pluck that she picked up all 
sorts of small parts in the studios — " 

" particularly young sister parts in 
those early days," May interrupted. 
eagerly. " Madge Kennedy's sister in 
The Perfect Lady, Florence Reed's 
in The Woman Under Oath, and Mar- 
guerite Clark's in Mrs. Wiggs of the 
Cabbage Patch. My ! What a long 
time ago that seems." 

" Every year in the monies is like a 
century in the world," I said. 

" I'm sorry," said May penitently. "I 
interrupted you. Go on telling me about 
that little schoolgirl." 

" Well, by the time she had made a 
lot of other films with Alice Joyce and 
Herbert Rawlinson and a lot of other 
stars, and had been ptarred herself in 
Forbidden Valley and The House of the 
Tolling Bell and one or two others, she 
wasn't a little schoolgirl any longer, 
but a real grown-up movie actress with 
a fan mail of her own. And then came 
her big chance, when Faire Binney, who 
had been cast for the part of ' Grisel ' 



***. 



&3 TO0M 



M 



111 Stntimenlai I ommy, failed to 

:cr the type ili.it the producer 

wanted ^nd May «"t the part, and Kit 

thi- world ri^ht in the solar plexus." 

\ik1 sin- though! sb<- w;is made for 
life." 
■ Hut unfortunately 'Gristls' aren't 

wanted in the studio every day — " 

" And Catting directors took it into 
their heads thai > girl Who had played 
'Grisel' would never play small, ordinary 
parts again — " 

" And the long and the short of :t 
W as that May's big chance played her 
the second bad trick of her life." 

"I thought," May confessed, "that 
I was done for good during that time 
after Sentimental Tommy. Nobody 
seemed to know the sort of parts they 
wanted to cast me for. They kept 
arguing with each other about my par- 
ticular type, and saving me up in case 
another ' Grisel ' part came along, and 
so — " 

" And so you — no, let's keep it in the 
^t.hird person, she— took her courage 
in her hands and went right back again 
to the beginning, and worked herself 
back with parts that any other star would 
have turned down with contempt. And 
talking of turning down parts with con- 
tempt, the bravest thing that little girl 
ever did was to refuse Cecil De Mille's 
offer of a par£ in Adam's Rib, a leading 
part too, in the days when she most 
needed it. Why did you do it, May?" 

" I didn't feel I could be that girl in 
Adam's Rib. She was such a hare- 
brained flapper, and it meant wearing 
hardly any clothes, and bobbing my 
hair, and doing all sorts of things that 
rubbed me up the wrong-way. Oh, I 
guess you think it was silly of me; 
everybody told me I was a fool, and I 
know it did me a lot of harm ; but some- 
how I couldn't. I didn't fed the part, 
and should only have played it badly." 

"If you really want to know what I 
think, May," I told her, " it's that any 
girl who has the courage to turn down 
a starring part in a De Mille super 

Continued on page 49). 



She was 

delightful 

in " The 

Morals 

of 

Marcus." 



\ 



£S 



42 



Picture s and Picture poer 



APRIL 1925 



QfcArl 

CHARL 
CHAPLIN 





The art of Charlie Chaplin is the 
art of perfect pantomime. 
He is the only true mime in 
the kinema. 

He alone of them all has made him- 
self independent of words, speaking to 
millions in the language of pure 
movement, the old pantomime tongue. 

He has a vocabulary of gesture so 
complete that the absence of titles in 
his films is a fact unnoticed; we should 
have sworn, looking back on them, to 
many. It is hardly possible to believe 
that such a thing as the sermon of 
David and Goliath in The Pilgrim 
could have held a whole audience in- 
tent for many minutes without a word 
uttered, but it is so. 

Chaplin does not have to speak to 
he understood, even to be subtly under- 
stood. He has only to be. 

Along with Grock, he is the world's 
great improvisor. His speech is 
spontaneous, thrown out, as it were, in 
the course of the film. He speaks 
with all the homely objects that lie 
nearest his hand, with a flower, a hat, 
a cake, a rolling-pin. 

His is essentially a miniature art. 
Its very soul is intimacy. 

His materials of speech are the 
materials of every-day life, the thing's 
of familiarity and home. In that way 
he 'Speaks intimately, directly, to every 
man, woman and child in his world 
audience. 

I— Je brings comedy into our own kit- 
chens, romance into the heart of the 
common street.- Chaplin has captured 
the world because he calls to the world 
with all the simple things, the little 
things, that the world knowns and lpves. 

He has created, with his shabby 
clothes and drab backgrounds, a figure 
whose inmost meaning is mirrored in 
the secret places of every heart, and 
all the time as we laugh we love him 
and sympathise. 

We love the tramp, and we love the 
man. 

The man is wistful, pathetic, a 
mystery. Somehow we feel that, for 
all of himself that he has given, the 
real Chaplin, the real tragic Chaplin, 
will always be hidden in darkness and 
in silence. 

The tramp we love because he is 
universal, a part of every life. He is 
the eternal, whimsical, child-spirit of 
humankind. He stands for the con- 



trasts of life, its shadows and its sun- 
shine, its smiles and its tears, its 
beauty and its grotesquerie. 

Contrast, and a sense of instinct 
frustrated, shines out in every move- 
ment of the tramp. He has much to 
say, and will not say it ; he is a man, 
and yet he is the universal child. 
Everywhere he is out of place, yet 
everywhere is a world too small for 
him. He is the restless adventurer, a 
thing of the elements, and lives still 
in a Golden Age where romance lies 
half-hidden in common things and to 
tilt at windmills is still a pastime for 
brave souls. 

Puck — and Don Quixote. . . A 
philosopher in fairyland. . . Chaplin, 
the man and the mime. 

Out even in the mime there are two 
Chaplins. 

On the one hand there is the comic 
Chaplin, a man of keen perception, a 
technician, an intelligence without 
emotion. But this comic artist is 
not the ultimate Chaplin. If it were 
so, his appeal, his genius, would be- 
come narrow and localised. We 
should admire him for his power, and 
for that strangely-contrasting delicate 
craftsmanship of his, but we should 
not hold him to our hearts. 

It is the other, the senti- 
mentalist Chaplin, that has 
won us and the world. 

The comic Chaplin is the 
master, the sentimental Chap- 
lin the friend. The comic 
Chaplin has made a science of 
improvisation. He wastes no 
time in, as it were, playing for 
position or creating atmos- 
phere, but he draws his theme 
clearly in a scene or two, 
wanders on — in the science of 
entrances he has no peer — and 
strolls with apparent aim- 
lessness. efuite deceptive, 
towards preconceived 

end. 

The sentimental Chap 
lin improvises from thi 
sheer joy, sheer pity, 
of living. He is a 
man of pathos and a 
humorist, seeing 
further into hearts 
than the other 
Chaplin, and moving 



them more deeply, a sheer emotion 
without logic or science. 

The art of Chaplin is there for all to 
see who have watched his evolution in 
his films. First the comedian, the 
comic artist, tentative, not quite sure of 
himself. Funny, I grant you, aware 
that he is funny, but by no means 
aware just how funny he is. Then, 
there emerges gradually the comic 
artist, a man who knows his powers, 
playing on his audience with the sure 
touch of a master; the comedian has 
become a humorist, with all the subtlety 
that the word implies. From Tally's 
Punctured Romance to The Kid there 
lies the story of the evolution of a 
genius. 

Humorist and comedian together 
make up the sum of the pantomimist 
Chaplin that we know. One is power- 
less, unfinished, without the other. 
And behind them both stands the dim, 
tragic figure of the man Chaplin whom 
we know not, whom we shall never 
know, never fully understand, even 
though we watch his mimic figure 
passing across the screens of the life- 
time of a world. 

E. R. Tho:upsox. 




APRIL 1925 



Picr\jre s and Picture poer 



43 



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The Cream of Fascination 







44 



Pictures and RicFurepuer 




APRIL 1925 



Harold Lloyd's latest is a 
comedy of domestic diffi- 
culties. 



Jobyna Ralston and Harold Lloyd. 

Mother-in-law jokes have pro- 
bably been in existence for 
as long as their mirth provok- 
ing subjects — so long, in fact, 
that they have become a positive 
nuisance to the long-suffering public, 
on whom they are inflicted whenever 
a comedian's stock of humour seems 
to be running dry. 

But in Harold Lloyd's clever and 
experienced hands even a mother-in- 
law loses her banality and provides 
new and hilariously amusing situations 
at which to laugh. That is why Hot 
Water can justly claim to be one of 
the funniest film comedies seen for 
some time past — because although 
much of the material used is ancient 
stuff, it is treated in such a fresh and 
ingenuous manner that laughter is 
assured from beginning to end of the 
picture. 

The plot is very slight, but it suffices 
for a frame-work on which to hang a 
quick succession of really funny gags. 
It concerns the domestic difficulties of 
a young man (Harold, of course), who, 
after resolving to remain a bachelor 
for the rest of his days, falls in love 
with a pretty girl (Jobyna Ralston) 
and marries her. His troubles begin 
shortly after the marriage, when his 
young wife sends- him on a shopping 
expedition. He -is already laden with 
parcels when he unexpectedly wins a 
live turkey in a raffle and is forced to 
take it home with him. A series of 
side-splitting adventures on a crowded 
tram lead to his being turned off for 
annoying the other passengers, and he 
arrives home exhausted, only to find 
the place invaded by his wife's inter- 
fering mother, idle elder brother and 
mischievous small brobher. 




He has bought a car (first instal- 
ment paid) as a surprise for his wife, 
and plans to take her for the first ride 
in it all by herself. Instead he has to 
take the whole family 
along, and mother-in- 
law insists on helping 
him drive. 

On the advice of a 
neighbour he takes a 
long drink, to help 
him pluck up enough 
courage to stand up 
to his mother-in-law. 
Unfortunately he rather 
overdoes it, and his 
frantic efforts to keep his 
befuddled condition from 
the old lady's watchful 
eyes provide some real 
comedy touches. 

However, it all comes 
right in the end, and the 
newly wedded couple are 
left alone in peace. 




APRIL 1925 



Pictures and Pict\jretyoer 



45 




Photograph by Slttchin 
Gown by Franc** Clyne 



x^ilctriTliri^j . — yet she would look well in anything 

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46 



Picture s and Picture $ver 



APRIL 1925 



~]~Ke MeKrij Widow 






f*"*^ 



,^r 



r , 



Above: Mae Murray as "Sally" 
(erstwhile " Sonia ") and Eric Von 
Stroheim give a few moments' 
attention to the score of " The 
Merry Widow." 






'£ 



L* - 



■ 



Above: Roy Guiste as "The 
Crown Prince." 



One of the 
many dance 
scenes in 
the film ver- 
sion of the 
popular 
operetta. 



Eric Von Stro- 
heim giving Tully Marshall, who 
has a good character role, his final 
instructions just before a " take." 



V 



f*2 ■ 






A between scenes conference. Mae 
Murray as " Sally." John Gilbert as 
" Prince Danilo." and Eric Von Stro- 
heim (centre) discuss a knotty point. 



APRIL 1925 



Pi chare s and Pi chare puer 



47 



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48 



Picture s ar\d Picture pver 



APRIL 1925 




DIVINE POLA. 
Thy beauty is a thing divine — 
All fortune's .gifts are surely thine ! 
Earth's waking song has breathed thy 

name, 
The gods bestowed on thee thy fame. 
For one kind word from thy sweet lips 
I'd give the wealth of a thousand ships ! 
Pola's Admirer (Forfar). 

ATTACKING' THE TAX. 

The Lords of Exchequer, to keep up 
our pecker, 
Reducing the Cinema Tax, 
To movies hard-driven have certainly 
given 
A welcome display of the axe; 

The recent election may see their rejec- 
tion, 
Yet filmland's a power to note — 
Though never (we mock it !) suggest 
that his pocket 
Determines the fan in his vote ! 

But, lowered or heightened, of such he's 
not frightened, 
He'll still go to films if he wish; 
Still choose his own fancy, a Nell or a 
Nancy, 
A Doro, a Pickford, a Gish. 

While duels with axes, and chases m 

•taxis, 

Of villain and vamp down the street, 

And Broadway all lit up will still make 

us sit up 

As though there were " tacks " on 

the seat ! F. M. F. (London). 

WHEN THE MOVIE LIGHTS GO 
OUT. 

When the movie lights go out 
Expectation fills my heart — 
Ev'ry wordly care and doubt 
Goes when once the pictures start. 
Shadows flitting on a screen 
Fascinate it seems; 
When the movie lights go out 
Then I live in dreams. 



When the movie-lights go out 
Fairy-music fills the hall, 
Earthly drabness put to rout 
Art and beauty hear my call — 
Lovers grace the silver sheet, 
With eyes that brightly shine, 
When the movie-lights go out 
Paradise is mine. 

Bob Thornbury. 

MAY McAVOY. 
With eyes so blue and wonder-wide, 
Dark clustering curls about her face, 
She flits, my tiny little star, 
Across the screen with winsome grace. 
She tugs the strings of every heart 
With fleeting smile or dewy tear, 
The dearest flower that Youth can give, 
So freshly sweet and so sincere. 

M. K. T. (Acton). 

TO MARIE DORO. 
If those dark and lovely eyes 

Ever see my verses 
(Sure I'll say it would surprise — 

Disappointment worse is), 
Though I fear my humble lays 

Are not much to show 'em, 
Marie, rest your gentle gaze 

Kindly on my poem. 

Though I know it's crude and rough, 

It's my best endeavour; 
And no verse is good enough 

For the Greatest Ever. 
That we think you are, you know, 

There's no star above you. 
Ay, you trace your triumphs so — 

We came, we saw, we love you ! 

E. J. F. (London). 

BETTY BALFOUR. 
Dear Betty, this is just to say 
I think you are divine, 
And ever in my heart you'll be 
A favourite star of mine. 

Beatrice (Isle of Wight). 



PULLING PICTURES TO PIECES 

[This is your department of Pictlregoer 
In it we deal each month with ridiculous 
incidents in current film releases. Entries 
must be made on postcards, and each 
reader must have his or her attempt 
-witnessed by tzvo other readers. 2/6 
will be awarded to the sender of each 
" Fault " published in the Pictlregoer. 
Address : " Faults," the Pictlregoer, 
93, Long Acre, W.C2). 

How Did He Do It? 

In The Covered Wagon "Sam Wood- 
hall " is seen riding on the prairie and 
his horse throws him into a bog. He is 
eventually rescued by his friend, and 
helped on to his horse again. Of course 
he is covered with mud and slime from 
the bog, but immediately afterwards be 
is seen pointing his gun at his enemy 
" Will Banion," and he is spotlessly 
clean, with dry clothes and hair nicely 
curled. N. Y. (Newcastle). 

A Lightning Change. 

When Lila Lee, in Homeward Bound, 
is talking to a friend on the verandah 
she is wearing flat-heeled shoe6. As 
she leaves the verandah and walks into 
the house, these have miraculously 
changed to shoes with Louis heels. 
M. J. F. (Croydon). 

Evidently They had Changed! 

In the film Things Have Changed, 
William Russell goes in search of a 
quilt for his bed. He receives instruc- 
tions from his friend to go to the white 
wardrobe on the first floor of his rooms. 
But I noticed that he went straight to 
a dark wardrobe instead. 

B. S. (Aldershot). 

It Looks Suspicious. 

Constance Talmadge, in Lessons in 
Love masquerades as a parlour maid. 
She takes Kenneth Harlan's tea into 
him, and he asks her to stay and have 
some with him. She sits down and 
pours out, and there are two cups ready 
on the tray. Did she make up her mind 
to get invited when she got that tray 
ready? V. S. (Leytonstone). 

Making Things Easy for Bill Sykes. 

In Easy to Make Money, Bert Lyt-ll 
owns a bank. One night he is standing 
outside when he hears somebody moving 
inside. He very carefully unlocks the 
door to investigate, and finds that the 
would-be burglar is an old friend of 
his. He explains the man's presence 
there to a policeman, and walks off 
with him, leaving the front door of the 
bank unlocked ready for the next 
burglar ! 

M. S. (London). 
Where Did He Change Them? 

William V. Mong, in Thy Name is 
Woman, comes in from a storm 
and asks his wife to change his 
shoes as his feet are wet. She 
does this, and puts on his slippers. 
Presently he gets furious with her and 
flinging on his coat goes out into the 
storm again. He doesn't change his 
slippers, but when he gets back he has 
his jack-boots on again. 

A. O. (Maidstone.) 



APRIL 1925 



Picture s and Richure puer 



49 



FIGHTING YOUTH 

{Continued from page 41.) 

deserves a war medal and the biggest 
electrics in the States." 

" Thank you," she said, and meant it. 
And then, after a pause, " They were 
good about it, though. I got parts in 
Clarence and West of the Water Towet 
in spite of it. Yes, they tvere k'ood, 
come to think about it. I ought to have 
bobbed my hair when they wanted me 
to." 

I said nothing. I warned you at the 
beginning that I had a very strong and 
unreasoning partisanship for May 
McAvoy. And I was thinking .hard. 

I was thinking of how that little 
schoolgirl of the sugar film .had worked 
and waited, without ever a word of 
grumble when things went wrong, nor 
a word of conceit when things went 
right. I thought of the knocks she had 
taken, and of the malice that she didn't 
feel. And I thought of that little, 
childish heroine of Grumpy and The 
Morals of Marcus, with her slight 
figure and round face and big, burning 
eyes, standing up to Cecil I>e Mille and 
telling him quietly but firmly that she 
didn't like the star part in Adam's Rib 
and would rather not bob her hair, 
thank you very much. 

Cour-foot-eleven of complete sincerity, 
of indomitable courage and the 
will to win. I don't think she has a 
single affectation in her make-up, nor 
has ever spoken a calculated word. All 
the time, whatever she is doing, she is 
just May McAvoy, as simple as on the 
day when first she faced the camera 
with a sugar packet in her hand. 

I had another vision of her, sharply. 
May. on the studio floor, with William 
de Mille directing her in Through the 
Bedroom Window. A highly-skilled 
and salaried orchestra playing atmos- 
pheric tunes, as they have played them 
for every other star to emote to from 
time immemorial. And then suddenly 
May flings both hands up over her ears 
and begins to cry. Sensation. The scene 
is stopped. William speaks. The 
orchestra is dismissed. The strangest 
phenomenon in the world has occurred. 
A star has rebelled against the 
emotional stimulus of music on the set. 
A hrave and characterful little star ! 
I straightaway told her just what I 
thought of her work in Three Women, 

; Tarnish and The Enchanted Cottage, 
and what I thought of the chance she 
had been given in Ben Hur, and sent 
her away with her eyes dancing. 

" And if you come across that little 
schoolgirl. Mav," I called after her 
down the elevator-shaft, " just tell her 
from me that she is as nice and as 

! pretty and, as plucky a child as has 

| ever come out of New York, and if I 
had a son he should marry her to- 

1 morrow." 

And far away down the shaft I 

i heard her laugh trailing. 

" Wouldn't he be — a — little 

1 y-o-u-n-g?" 

Phillip Kell. 



MAE MVMM I \ , Metro Star, tayi : 

In toe silent drama small details are mora 
•aaentiaJ, I believe, limn In the spoken . 
That's because the wtiolr IXMal la to tba <-v 
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and tanMrij a Ml problem lo-day 
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lu^ 



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50 



Pictures at\d P/chjre$ver 



APRIL 1925 



"Picturegoer' 

Sepia Glossy Postcards. 

REAL PHOTOGRAPHS. 

EACH 
2/6 doz. 



3d. 



Thi: 



Pfafototdt&»<> 



I Art Acord 

I Ben Alexander 

I Gerald Ames 

I Agnes Ayres (2) 

. Betty Balfour 

I Nigel Barrie (2) 

■ Wesley Barry 

| John Barrymore 
• Richard 

Barthelmess (2) 
I Warner Baxter 
I Hilda Bayley 

■ Wallace Beery 
Madge Bellamy 
Edna Best 
Constance Binney 

' Monte Blue 
I Betty Blythe 
[ Eleanor Boardman 
| John Bowers 

Flora Le Breton (2) 
I Betty Bronson 

■ Clive Brook (2) 
| Mae Busch 

■ Georges Carpentier 
I Lon Chancy 

■ Ethel Clayton 
I Lew Cody 

I Jose Collins 
' Ronald Colman 
| Betty Compson (3) 

Fay Compton 
| Jackie Coogan (2) 
. Gladys Cooper 
I Ricardo Cortez 
I Dorothy Dalton 
' Viola Dana 
| Bebe Daniels (2) 
. Marion Davies 
I Mildred Davis 
. Marjoric Daw 
I Priscilla Dean 
I Reginald Denny 
1 William Desmond 
I Richard Dix 

Ivy Duke (2) 
' William Duncan 
| Josephine Earle 
i Douglas Fairbanks 



Douglas Fair- 
banks (Junr.) 

Dustin Farnum 

Elsie Ferguson 

Harrison Ford 

Pauline Frederick 

Hoot Gibson 

John Gilbert 

Dorothy Gish 

Lillian Gish 

Gaston Glass (2) 

Huntly Gordon 

Corinne Griffith (2) 

Mahlon Hamilton 

Elaine Hammerstein 

Hope Hampton 

Kenneth Harlan 

Wanda Hawley 

Jack Holt 

Violet Hopson 

Jack Hoxie 

Lloyd Hughes 

Marjorie Hume 

Charles Hutchison 

Rex Ingram 

Edith Johnson 
Julanne Johnston 
Justine Johnstone 
Buck Jones 
Leatrice Joy (2) 
Alice Joyce 
Buster Keaton 
J. Warren Kerrigan 
Norman Kerry 
James Kirkwood 
Theodore Kosloff 
Alice Lake 
Cullen Landis 
Watheson Lang (2) 
Lila Lee 
Elmo Lincoln 
Harold Lloyd 
Ben Lyon 
Louise Lovely 
Edmund Lowe 
Bert Lytell 
May McAvoy (2) 
Kathcrine Mac- 
Donald (2) 



To Purchasers of "Picturegoer ! 
Sepia Glossy Postcards. 



ONLY 279 AVAILABLE 



EVERY reader sending an order for "Picturegoer" 
Sepia Glossy Postcards amounting to 3/- or more 
will receive FREE a Jazz Postcard Album as 
illustrated and usually sold at 2/-. 

Bound in a dazzling rich jazz cretonne of various 
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hinges, this unique album will make a 
worthy receptacle for the choicest cards 
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Make sure of your Presentation 
Album by sending in your order and 
remittance at once. Choose your 
cards from the lists herewith. 



i * 1 

.Malcolm McGregor 
I Dorothy MacKail I 

I Victor McLaglen 
Percy Marmont 
I Barbara La Marr (2)| 
■ Mae Marsh 
Shirley Mason 
. Frank Mayo 
I Thomas Meighan 
. Adolphe Menjou 
Patsy Ruth Miller 
I Tom Mix 
| Colleen Moore 
Torn Moore 
'Antonio Moreno 
I Marguerite De La 

Motte| 
Jack Mulhall 
Mae Murray 
Cannel Myers 
Conrad Nagel (2) 
iNita Naldi 
I Owen Nares 
'Nazimova 
iPola Negri (2) 
| Guy Newall 
Anna Nilsson 
Jane and Eva Novak | 
Ramon Novarro (4) 
Ivor Novello (4) 
I Eugene O'Brien 
I Mary Odette 
| Pat O'Malley 
,Baby Peggy (2) 
Eileen Percy 
1 House Peters (2) 
I Mary Philbin 
| Mary Pickford 
I Laura La Plante 
Eddie Polo 
I Marie Prevost 
I Edna Purviance 
IJobyna Ralston 
I Herbert Rawlinson 
I Irene Rich 
Theodore Roherts 
George Robey 
I Charles de Roche 
I Rod la Rocque 
.Ruth Roland 
Stewart Rome 
'Alma Rubens 
[William Russell 
I Joseph Schildkraut 
.Gregory Scott 
Norma Shearer 
I Milton Sills 
I Anita Stewart 
Lewis Stone 
'Eric Von Stroheim 
I John Stuart 
| Madge Stuart 
.Gloria Swanson 
Blanche Sweet 
Constance Talmadge 
I Norma Talmadge (4) 
' Richard Talmadge 
| Conway Tearle 
I Lou Tellegrn 
(Alice Terry (4) 
| Phyllis Neilson Terry | 
iQueenie Thoims 
'Ernest Torrence 
I Rudolph Valen- 
tino (7) 
I Henry Victor 



Picturegoer Salon/ 

88, Long Acre, London, W.C.2. 

IMPORTANT. 

The coupon opposite must accom- 
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your remittance to cover cost 
of postage and packing^ 



JAZZ 
ALBUM COUPON 



Attach this coupon, together 
with 3d. in stamps for 
packing and postage, to 
your order for "Picture- 
goer" Sepia Glossy Post- 
cards to the value of 3/- or 
more and the Jazz Postcard 
Album — as sold at 2/- — 
will be sent to. vou 
FREE. .. 

P. April 



APRIL 1925 



Picture s and Pichjre Over 



51 



/""harks Ray has just signed on with 
^ Chadwick Pictures Corporation and 
will make four pictures tor them this 
year. Chadwick is expanding this si .1 
sun, their stars include I ionel Barrj 
more, Theda Bara, Larry Semon and 
George Walsh. 

Amta Stewart has returned to Vita- 
^"^ graph where she first commenced 
film work. Nita had just finished work 
on The Boomerang and was actually at 

the station, about to entrain lor New 
York when a man rushed up to her and 
explained breathlessly that David 
Smith wanted her to play in Baree, 
of Kazan, which Vitagraph were about 
to film. So she has postponed her trip 
indefinitely. 

\Jorma Shearer has won her first 
popularity contest. The owner of 
twelve New York kinemas announced a 
Competition to decide who was the star 
his patrons wished to see most fre- 
quently and Norma came out an easy 
first. 

A tter a year's absence from the 
^^ studios Mary Pick ford has for- 
saken costume productions, fairy tales 
and " grown-up " roles for good and 
gone back to her own particular brand 

1 of movie. Little Annie Rooncy, as the 
feature is called, is a story of the 
American five and ten cent store (like 
our 3d. — 6d. Bazaars and Woolworths), 
and she will portray a little Irish- 

i American girl who works at one of 
them. Marshall Neilan, however, is not 
to direct it, Mary has borrowed William 
Beaudine from Warner Bros, for the 
occasion. The story is from her own 
pen. 

f ouise Fazenda has a novel role in her 

newest film The Night Club. She 

plays a temperamental Spanish dancer, 

who loves men only when they are 

; angry. Raymond Griffith and Wallace 
Beery head the masculine side of the 
cast. If the others are as fearsome as 
Wallace is when he's annoyed, Louise 

' will have her work an out to keep them 
in order. 

/^ecil B. De Milk declares that the 
" thirteen is unlucky " superstition 

leaves him quite cold. In fact, he 
j believes 13 to be his lucky number. His 
I own and his father's names have thir- 

I teen letters, and, he habitually com- 
mences each new film on the 13th of the 

I I month. He first left Hollywood to 
! commence his directorial career on 

November 13, 1912, and on Friday, 
; February 13, 1925, he set forth on the 
i same journey (New York to Holly- 
I wood) after having completed his new 

alliance with Producers Distributing 
I Co. 

Adelqui Millar, who plays the title 

role in The Apache, a British film 

: produced in Paris dislocated his 

shoulder whilst filming a fight scene. It 

was an exterior set. His project of film- 



SHADOWLAND 

MOVIE GOSSIP OF THE MONTH 



)\\ mi I llll 



z± 



:c 



~IL k."i 



■ ■••'■<•.- 



K 



ing it on the spot (the notorious Apache 
quarter of La Ville) had to be aban- 
doned, but the crowd were the real 
thing and were absolutely in their ele- 
ment. Part of it took place inside a 
tavern, where the glasses and bottles 
flung about by the actors resulted in 
many other casualties besides Millar's, 
which came about through a fall. 

LJarold Lloyd has engaged a new lead- 
ing lady. His choice has fallen 
upon Hazel Keener, who was considered 
the best photographic subject out of 
25,000 submitted to the International 
Society of Photographers. She has also 
posed for innumerable advertisements 
and has been on the screen nearly three 
years. 

Come time ago someone started a fund 
to build a new Hollywood Studio 
Club for girls. Subscriptions came in 
somewhat slowly and they were still 
five thousand dollars short when Norma 
Talmadge, who returned only recently 
from Europe announced that she would 
give them the sum that they could set 
to work at once. Norma is a particular 
favourite with girls of all classes, she 
is too, thoroughly interested in any pro- 
jects concerning them and is connected 



in one way or another with fully a 
dozen clubs. 

Daby Peggy is giving a vaudeville 
entertainment these days. Intro- 
duced by her papa, she recites, dances, 
smiles, laughs and cries at his bidding. 
The audience at the New York Hippo- 
drome encored her wildly and she will 
leave movie making alone for a while, 
'tis said. 

Irving Cummings, who is to direct Just 
a Woman for First National has 
already secured Claire Windsor, Percy 
Marmont and Conway Tearle for his 
cast which is to be an all-star one. 

/"\ne of the few countries dead against 
^'^film-making was Switzerland, which 
has repulsed would-be screen-parties by 
the score. But after a year's efforts, 
Emil Harder, an American director, was 
allowed to make a spectacular feature 
titled IViliiam Tell in the Swiss Alps 
on the exact spots tradition associated 
with that worthy man. Once the Swiss 
government capitulated, they did the 
thing properly, and relics and data cen- 
turies old were brought forth from 
museums and libraries for the director's 
benefit. The film was shown to the 



52 



Picture s and Picture $oer 



APPIL 1925 



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Priscilla Dean and Sten-art Holmes in " The Siren of Seville." 



Swiss President when it was finished 
and America saw it last month. 

|\/[odern picture acting of to-day, 
according to Sadakic.hie Hartmann 
in the '' The Curtain," requires out- 
ward appearance, adaptability, vitality, 
the patience of Job and the endurance 
of Ulysses. Brains and abilityareuseless 
declares " The Chinese Prince " of The 
Thief of Bagdad, who, despite a per- 
formance which won universal praise 
waxes very bitter over his initial movie 
experience. He deplores the directorial 
policy of choosing casting according 
to type, also the close-up, " For," he 
writes, " Fairbanks declared I had the 
eyes of a saint, though the rest of my 
face was that of a villain. But the 
director did not see it that way." 

" I— Je tried to make me express menace 
in a colossal close-up of my eyes 
alone. Also my idea of how a Chinese 
Prince would behave and theirs differed 
greatly, especially in the arrival of the 
Prince at what was supposed to be a 
mysterious Chinese town (Nottingham 
remodelled). My part, which was to 
have been one of repose, finally evolved 
itself into action — undeniably action, 
but, to my mind, commonplace and 
meaningless action, not dramatic action. 
I ascertained the reason for this, and 
was informed that it had to be so 
according to the best movie tradition. 

" TPhe peculiar technique of motion 
picture acting is not acting at all. 
You simply walk into a situation. 
Watch your steps. Take a few to the 
right, then a few to the left, make a 
turn and you walk (step. hop. or 
flounder), right into things. Then you 
.have to make a face for the close-up. 
After this, promenade some more until 
you reach another situation and make 
another face: Nothing but ordinary 
expressions, please. Subtlety, or the 
transition of one emotion into another 
is tabooed." And so on for two and a 



half pages of severity. But he approves 
of the out of door sets, though he found 
the costumes of the extras too preten- 
tious. 

producers are going back to the Civil 
War again for their stories. 
Shenandoah, which is scheduled for 
production by Schulbergs. is the first 
stage play of any note dealing with 
that colourful period and has been run- 
ning for the past thirty-six years in 
America. Barring " Uncle Tom's 
Cabin," Shenandoah is about the best- 
known drama in U.S.A. 

/^ladys Hulette is playing for movies 
^"^ again in Crossed IVords, a story 
about a lost bundle of letters, with 
Buster Collier as her leading man. 

"Pheda Bara's return to the screen will 
be made in a film version of The 
Uncltastcttcd Woman, originally a suc- 
cessful American drama. 

iX/Iack Sennett, at whose studios so 
many famous feminine stars have 
had their first chance has just featured 
a new star. Little Alice Day. a wistful 
looking child who has appeared with 
Harry Langdon, Ralph Graves and Ben 
Turpin for the past year. She is a 
High School girl from Colorado 
Springs and just nineteen, and is being 
starred in a new series of comedies, the 
first of which is called Love and Kisses. 

Dotty Balfour is to have a new direc- 
tor. She will play the leading role 
in Monte Carlo, directed by Louis Mer- 
canton, which is based on a Phillips 
Oppenheim story. It will be filmed 
partly abroad, and some of it actually 
inside the famous Casino, an achieve- 
ment that has never before been accom- 
plished. Louis Mercanton hardly ever 
takes studio scenes. He carries lights, 
etc., around with him and films scenes 
in houses, inns or any other suitable 
spots he finds on location. 



APRIL 1925 

A nthony Jowett, last seen on the Lon- 
** don stage in " Not in Our'Stars," 
and "Diplomacy" has heen in Ins 
Angeles for the past three months and 
has just landed a contract with Para- 
mount. The studio officials consider 
him a most promising " find " 

T7ugene O'Brien is at work at Univer- 
sal City in Siege, opposite Vir- 
ginia Valli, with Mary and Mart 
McDermott in the chief supporting 
roles. 

" lWIarch winds and April showers," 
* soon shall bring us — chapped 
hands and a rough skin if we do not 
apply a little Eastern Foam every morn- 
ing before we face the weather and 
every night before we retire. This 
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is rightly named " The Cream of 
Fascination." 

HThe slim silhouette still reigns in 
Fashionland and many thousands 
<h women are dieting and exercising 
vigorously to bring down their weight 
to the required lbs. and ozs. A local 
treatment for reducing is the Vaco Re- 
ducing Cup, which, by gentle, but con- 
centrated suction, creates a natural cir- 
culation and loosens the tissues, thus 
making the clogging fat to be dispersed. 
Gymnastics act on the same principle. 
but the Vaco, which offers a 5-day trial 
(see Page 5) claims to go direct to the 
precise spot where the reduction is' 
desired. 

/^\ne can sing the praises of Icilma 
^^ Cream, secure in the knowledge 
that it really does all that is claimed — 
thanks to the unique skin-tonic natural 
spring water it contains. And now this 
well-known cream is being packed in a 
new and artistic modern jar with the 
choice of two perfumes. Bouquet or 
Magnolia. The Icilma Company are 
offering testing samples free for 
a postcard, see page 67 



Picture s and Picture tyuer 



53 



I he( Jiarm otf ( w mm I II ■ *§ieru 





' ■ TTS quite right, Margaret, they 

are the best Stockings I ever 

bought For wear, comfort 

and value I know none better. Only 

recently I was in Leicester and had 

the opportunity of seeing where 

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It is the largest and finest factory I 

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Ask for "CORA" a typical example of 

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Stfflam aref 

"Snlizt- HOSIERY 

An Illustrated Booklet No. 74. and name of ntaral retailer, will be tent 
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Workt, Leicester. 



HOSIERY 



UNDERWEAR 



JERSEYS 




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'Phone: 
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(Dept. P. C). 92, New Bond Street. London, W.l. 



54 



Pictures and Picfrjrepuer 



APRIL 1925 



Smartly Dressed 
at Little Cost 




Thousands of women 
and girls, in city, 
town and country, 
have learned, through 
the Woman's Insti- 
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LEARN PRESSMAKING 
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(Dept. 107), 71 KINGSWAY, LONDON, W.C.2. 




ILadysClodero 
'Toilet Guide 

By PHILIP H. MASON 

Author of "Face Massage." " The Hair." 

A FREE COPY 

With the Author's Compliment*. 
CONTENTS. 



complexion- 
how to Make Clear 
to Preserve 
,. to Protect Out- 
doors. 

Moaaajre Illustra- 
tions. 

HOW to CORRECT- 
Lines ami Wrinkles 
Greasy Skin 
Dry, Kouch Skin 
Too High Colour 
Freckles and Stains 
Moles ami Waits 
Enlarged Pores 
Thin Pace and n w k 
Pal Pace, Double Chin 



HAIR- 
To Increase Growth 
To Make Lustrous and 

give Natural Colour 
To Kcmovo Greyness 
To Stop Hair-Fall 

To Cure Scurf 

WASHING and tha 
BATH 

What Soap to Use 
How jp soften Water 

HANDS- 
To Make Soft ft White 

_ Manicure described 

EYES. LASHES and 
BROWS 

To Increase their Beauty 



The 100-P'inc Illustrated Guide sent tost free 

PHILIP H. MASON 
J^agFftai. NORWICH 




*-*r 






'icture^oers Guide 



The Battling Fool (W ardour; April 20). 
Boxing melodrama with good ringside 
atmosphere and a thrilling fire rescue 
climax. Well played by William Fair- 
banks, Eva Novak, Fred J. Butler, Laura 
Winston, Catherine Craig, Pat Harmon, 
Jack Byron and Ed. Kennedy. Good 
entertainment. 

The Bedroom Window {Paramount; 
April 23). 
May McAvoy in a good detective 
mystery drama concerning two young 
lovers and a female Sherlock Holmes. 
Supporting the star are Malcolm 
McGregor, Ricardo Cortez, Robert 
Edeson, George Fawcett, Ethel Wales 
and Medea Radzina. 

Behind the Curtain {European; April 
•20). 

An unusual crook story dealing with 
the so-called occult, and clairvoyance 
written by Wm. J. Flynn the famous 
U.S.A. Secret Service man. All star cast 
includes Lucille Ricksen, Johnny Harron, 
Winifred Bryson, Charles Clary, Eric 
Mayne, George Cooper, Clarence Gildert 
and Pat Harmon. Good entertainment. 

The Brass Bowl {Fox; April 6). 

Mystery melodrama based upon dual 
identity in which a wealthy bachelor is 
mistaken for a celebrated crook and pur- 
sued by a girl he thinks a feminine 
Raffles. Edward Lowe stars, with Claire 
Adams opposite ; also Jack Duffy, J. 
Farrel MacDonald, Leo White, and Fred | 
Butler. Good netertainment. 

Captain Blood {I'itagraph; April 6). 

An excellent film version of Sabatini's| 
stirring pirate romance, well played by J, 
Warren Kerrigan, Jean Paige, Wilfredl 
North, Templar Saxc, Otis Harlan, Allan I 
Forrest, Henry Barrows, James Mor-I 
rison, Bertram Grassby, Charlotte| 
Merriam, Otto Matiesen, Jack Curtis, 
Henry Hebert and Robert Bolder. 

Captain January {Wardour; April 13). 

Baby Peggy in a simple story about al 
waif who is adopted by a kindly light- 



house keeper. Supporting the little star 
appear Hobart Bosworth, Irene Rich, 
Harry T. Morey, Lincoln Stedman, John 
Merkyl, Emmett King and Barbara 
Tennant. Sentimental fare. 

Changing Husbands {Paramount; April 
6). 
Leatrice Joy in a dual role in a lavishly 
produced mix-up of husbands and wives, 
stage versus domesticity and wild car and 
motor-cycle chase. Pleasantly played by 
Leatrice Joy, Victor Yarconi, Raymond 
Griffith, Zasu Pitts and Helen Dunbar. 

Circe the Enchantress {Metro-Goldwyn- 

Jury; April 6). 
Society drama of the typical Mae 
Murray brand, with excellent settings, 
gorgeous gowns, and brilliant photography 
to compensate for a thin plot. James 
Kirkwood opposite, also Tom Ricketts. 
Charles Gerard, William Haines and 
Gene Cameron. 







i K 



I 






■ 



APRIL 1925 



Picture s end Pichure poer 



55 



LenaLastik Underwear 



(moo ) 



Underwear that is dainty, well shaped, 
very soft, durable and unshrinkable — at the 
same time being very moderate in price- 
would be the ideal underwear. That is 
the description of LenaLastik — the ideal 
underwear. British Made. 

Miss Alice Calhoun, the celebrated Vitagraph Star 

says : — 

" / find LenaLastik Underwear delightfully 
soft and comfy to the skin and most excellent 
in every way. I take great pleasure in 
recommending it most heartily. 

Look for this Tab 
on the garment. 

i 



LENAJASTIK 



W]^ ©Si, 

At the.Stores and all leading Drapers. 
If any difficulty write for name of draper with stock. 
VASLEDGE WORKS. SOUTH WIGSTON. 







LenaLastik holds the Certificate of 
Merit of the Institute of Hygiene. 




Aids to 
Beauty 



Thousands of women on and off the stage owe the beauty of their 
hair and the charm of their complexion to KOKO preparations. 
For purity, daintiness and efficacy each is without a peer. 



nelexe Chadwick 

Star of "Pity the Poor Chorus 
Girl" says : — 

" / am charmed with the 
KOKO preparations and 
have no hesitation in warmly 
recommending them to every 
girl who wishes to make the best 
of her hair and complexion. 
I use them regularly." 



KOKO FOR THE HAIR 



IS 



clear, non-greasy liquid, 
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cleanses the Scalp, Strengthens 
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ultimately produces Thick, 
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116, 31- and 516 per bottle. 



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A Superfine Cream, delightfully 
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In attractive Jars 1/6 each. 

FREE SAMPLE of Koko Vanishing Cream will be lent on receipt 
ot threepence in stamps to cover cost of postage and packing. 



All good Chemists, Stores and Hairdressers stock. KOKO Toilet Preparations 

KOKO MARICOPAS CO. LTD.. (Dept. PC), 

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56 



Pictures and Pichjretpver 



APRIL 1925 




Eugene O'Brien and Norma Talmadge in " The Only Woman." 



The Discarded Woman {Western 
Import; April 20). 
Hectic melodrama with super-villainous 
villains, and . all the familiar stock 
situations. Grace Darling and Rod La 
Rocque star, with James Cooley, 
Madelene Clare, E. J. Radcliffe, John 
Nicholson, and W. D. Corbett in support. 

The Forbidden Range (Gaunmnt: April 
30). 
Neal Hart, Virginia de Burne and 
Yackma Canutt in a Westerner in which 
Neal Hart is author, director and star. 
Good fight and rescue scenes redeem a 
plot which is not above the average. 

Gold Heels (Fox; April 13). 

The third screen version of 
" Checkers," a thrilling Turf drama based 
on a favourite American stage success. 
Well played by Robert Agnew, Peggy 
Shaw, Lucien Littlefield, William Bailey, 
Carl Stockdale, Harry Tracy, and James 
Douglas. Good entertainment. 
His Hour (Metro-Goldivyn-Jury; April 
20). 

An Elinor Glyn story of tempestuous 
love fti Imperial Russia. Excellent 
directiorrvand acting by Aileen Pringle, 
John Gilbert, Bertram Grassby, Carrie 
Clarke Ward, Emily Fitzroy, Dale Fuller, 
Mario Carillo, Jill Reties and Jacqueline 
Gadsdon. Goon entertainment. 

Hot Water (W. & F.; April 13). 

A Harold Lloyd comedy which is 
better than Girl Shy. Full of laughs and 
new gags. Jobyna Ralston, Josephine 
Crowell, Charles Stevenson and Mickey 
McBan support the star. Excellent 
entertainment. 

Husbands and Lovers (Ass. First Nat.; 
April 13). 
Although obviously inspired by The 
Marriage Circle, this is an excellent 
comedy-drama of modern marriage. 
Well played by Lewis Stone, Florence 
Vidor, Lew Cody, Dale Fuller, Winter 

Hall and Edythe Yorke. 
In a Monastery Garden (Mctro- 
Goldwyn-Jury; April 27). 
A well told and sincere story about the 
redemption of a cabaret dancer, with 
Viola Dana in the role taken by 



Nazimova in a previous version. Monte 
Blue opposite, also Marjorie Daw, Lew 
Cody, Nigel De Brulier, Kathleen Key, 
Ethel Wales, Bruce Guerin, Edward 
Connelly and Frank Currier. Good 
entertainment. 

K. The Unknown (European; April 13). 
An interesting story of hospital life 
involving the love of four men for a girl. 
Fine acting by Percy Marmont, Virginia 
Valli, Maurice Ryan, Margarita Fisher, 
John Roche, Francis Feeney, Maurice 
Ryan and Wm. A. Carrol. Good 
entertainment. 

Lily of the Dust (Paramount; April 
13). 
Pola Negri, Ben Lyon and Noah Beery 
in love story of a beautiful girl in a 
German garrison town. Excellent direc- 
tion by Buchowetski. Raymond Griffith. 
Jeannette Daudet and Wm, J. Kelly 
support the stars. 

The Lover of Camille (Gaumont; April 
23). 
A screen version of the play 
" Debureau " containing some pretty 
fantasy and good atmosphere, but an 
over sentimentalised story and a remark- 
ably healthy looking " consumptive " 
heroine. Marie Prevost and Monte Blue 
star, supported by Willard Louis, Pierre 
Gendron, Carlton Miller, Frankie Bailey, 
Rose Rosanova, Winifred Bryan, Bran- 
don Hurst and Rose Dione. Rather slow 
theatrical romance. 

The Lure of the Yukon (Wardour; 
April 6). 
Eva Novak in a story of the gold rush, 
with some striking Alaskan scenery and 
thrills. Support includes Spottiswoode 
Aitken, Kent Sanderson, Arthur Jasmine, 
Howard Webster, Katherine Daron and 
Eagle Eye. Good entertainment. 

Madonna of the Streets (Ass. First Nat.; 
April 20). 
Nazimova's return picture, a somewhat 
crude religious drama of London slum 
life very reminiscent of The Fool. 
Milton Sills, Claude Gillingwater, Cour- 
tenay Foote, Tom Kennedy, Vivian 
Oakland, Harold Goodwin, Rosa Gore 
and May Beth Carr. Fair entertainment. 



The Midnight Expresa (Pathe; April 
13). 

A railroad romance that will appeal to 
everybody, telling how a wealthy profli- 
gate made good in a locomotive shop. 
Elaine Hammerstein and William Haines 
are featured; supported by George 
Nichols, Lloyd Whitlock, Edwin Booth 
Tilton, Pat Harmon, Bertram Grassby,. 
Phyllis Haver, Noble Johnson, and Jack 
Richardson. Excellent entertainment. 
Nets of Destiny (Butcher; April 27). 

Stewart Rome, Mary Odette, Judd 
Green, Cameron Carr and Gertrude 
McCoy in a novelettish story of life on 
a trawler. Fair entertainment. 
One Night in Rome (Metro-Golduyn- 
hiry; April 13). 

Very good and novel melodrama 
adapted from the plav by Hartley 
Manners. Laurette Taylor stars, as a 
" seeress," supported by Tom Moore. 
Alan Hale, Miss Du Pont, Warner 
Oland, Joseph J. Dowling, William 
Humphrey, Brandon Hurst, Edna 
Tichenor and Ralph Yearsley. 
The Only Woman (Ass. First National; 
April 26). 

Conventional Story of a society 
drunkard who is reformed by his pur- 
poseful wife, with a fine storm and ship- 
wreck climax. Well played by Norma 
Talmadge, Eugene O'Brien, Winter Hall, 
Matthew Betz, Stella di Lanti, Murdock 
McQuarrie, Rev. Neal Dodd. Good 
entertainment. 
The Price She Paid (Pathe; April 27). 

Social drama adapted from the story 
by David Graham Philips, with some 
good fire scenes on a yacht towards the 
end. Alma Rubens stars, with Frank 
Mayo opposite, also William Welsh, 
Eugenie Besserer, Truman Wood, Lloyd 
Whitlock and Edward Davis. Fair 
entertainment. 
Ramshackle House (F. B. 0.; April 27). 

Betty Compson in an admirably pro- 
duced love and adventure story set in 
Florida and the Tropics. In support 
appear Robert Lowing, John Davidson, 
Henry James, William Black, Duke 
Pelzer and Josephine Norman. Good 
entertainment. 
The Shepherd King (Fox; April 27). 

Good spectacle drama dealing with the 
life of David, with some additional 
touches not mentioned in the Bible. Some 
fine settings and exteriors taken in the 
Holy Land. The cast comprises Nerio 
Bernardi, Violet Mersereau, Edy Darclea, 
Guido Trento, Ferruchio Bianchini, 
Virginia Luchetti, Allessandro Salvini, 
Adriano Bocanera, Samuel Belestra and 
Amerigo di Giorgio. 
The Siren of Seville (F. B. 0.; April 13). 

Priscilla Dean in a colourful story 
woven around the life of a matador in 
Spain with some excellent bull-ring 
sequences. Allan Forrest Stuart 
Holmes, Claire Delorez, Bert Woodruff 
and Matthew Betz support the star. Good 
entertainment. 

The Side Show of Life (Paramount; 
April 27). 

A somewhat slow-moving screen 
version of Wm. J. Locke's novel " The 
Mountebank," containing some fine acting 
by Ernest Torrence as the Brigadier- 
general-clown. Cast also includes Anna 
Q. Nilsson, Louise Lagrange, Maurice 
Cannon, Neil Hamilton, William Ric- 
ciardi, Ris Pozzi, Lawrence D'Orsay, 
Effie Shannon and Katherine Lee. 
So This is Hollywood (Ass. First Nat.; 
April 26). 

The adventures of Potash and Perl- 
mutter in the film world of Hollywood. 



APRIL 1925 



Pictures and Pichjre^oer 



57 



A remarkably Rood comedy perfectly 
directed and acted by Alexander (."arr, 
George Sidney, Vera Gordon, Betty 
Blythe, Belle Bennett, Anders R&ndolt, 

Seggy Shaw. Charles Meredith, Lillian 
ackett. David Butler, Sidney Franklin 
and Joseph W, '.iirard. 
The Sword of Valour {Butcher; April 
13). 

Rex (Snowy) Baker ami his hurse in 
a stunt story of old Spain with a duel, 
;>sy rescue and plenty of lively in- 
cident Otto Lederer, Fred Kavens. 
n Cecil, Armando Pasquali and 
'thy Kevier. Good Western Fare 
This Wcman (Gaumout; April 27) 

The story of a girl with a glorious 
voice who suffered many perils through 
no fault of her own. Irene Rich stars, 
with Creighton Hale, Clara Bow, Ricardo 
Cortez, Louise Fazenda, Frank Elliott, 
Otto Hoffman and Helen Dunbar in sup- 
port. Good melodramatic fare. 
Tiger Love (Paramount ; April 20). 

Tony Moreno and Estelle Taylor in a 
colourful adventure romance about a 
Spanish outlaw who steals an aristocratic 
girl from the Don she is about to marry 
and afterwards turns out to be an aristo- 
crat himself. G. N'aymond Nye, Manuel 
Camere, Edgar Morton, David Torrence, 
Snitz Edwards and Monti Collins com- 
plete the cast 
Vindication (Phillips; April 27). 

An efficiently produced and well acted 
melodrama with a somewhat hackneyed 
plot about the daughter of a dance hall 
proprietress. Anita Stewart stars, with 
Wallace MacDonald, Xoah Beery, Walter 
Long, Gibson Gowland. Eugenie Besserer, 
John Hall and Will Jeffries in support. 
Troubled Waters (Walturdau.-, April 
13V 

Charles Hutchison in a stunt thriller 
concerning a modern smuggler's cave. 
Edith Thornton. Otto Lederer, John 
Henry, Ethel Stairt, Frank Hagney, Jack 
N'athis and John OBrien (Chief of 
Police, San Francisco). Good stunt 
melodrama. 
The Tornado (European; April 27). 

Forceful melodrama concerning a 
mysterious lumber camp boss, Tornado 
by name, whilst a genuine tornado pro- 
vides a smashing finale. House Peters, 
Ruth Clifford, Richard Tucker, Snitz 
Edwards, Kate Price, Dick Sutherland 
and Fred Gamble comprise the cast. 
Winner Take All (Fox; April 20). 

Melodrama concerning a cowboy whe 
becomes a prize fighter, but refuses to 
play a crooked game. Buck Jones is 
starred with Peggy Shaw, Edward 
Hearn, Lilyan Tashman, Wm. Morton 
Bailey and Ben Deeley in support Good 
entertainment. 



Brings Youth and Beauty 
to YOU overnight 




A SIMPLE 

Beauty 
Recipe 



Use a little predigested buttermilk and 
olive oil on your face before going to bed, 
and in the morning you will be surprised to 
find how wonderfully soft, smooth and 
youthful-looking they have made your skin. 
It is a very simple but most effective recipe 
used by many a beautiful actress and society 
woman. Buttermilk and olive oil, when 
predigested by artificial means, and mixed 
in the proper proportion, become absolutely 
non-greasy and form one of the most 
nourishing and beautifying skin foods 
known. They are unequalled for helping 
to prevent a dried-up and harsh, rough, 
wrinkled skin, enlarged pores and other 
complexion blemishes. Your chemist can 
prepare the buttermilk and olive oil for 
you in a few days, or you can obtain them 
already prepared in Creme Tokalon in the 
required non-greasy and predigested form. 



CfemeTbkalon 



S_ 



ANY CHEMIST CAN 
PREPARE FOR YOU 



This is the Cream recommended by many 
of England's most beautiful women, includ- 
ing Fay Compton, Phyllis Dare, Ivy Duke, 
Phyllis Monkman. and Jose" Collins. 

IMPORTANT NOTE.— To obtain the best remits, we 
especially recommend the use of Poudre Tokalon Mousse 
of Cream Face Powder in conjunction with Creme 
Tokalon The Mousse of Cream causes the powder to 
cling to the skin in spite of wind rainy weather. brat or 
perspiration while dancing, and it thereby completely 
does away with shiny noses, greasv-looking skins and 
powdering your face all the time. The Mousse of Cream 
also prevents the powder from absorbing the natnral 
moisture from the skin, drying it up and causing wrinkles 
and a coarse, rough skin. Being air-floated, it contains 
no tiny, gritty, hard particles to irr,tate the pores of the 
skin or starchy grains of rice powder to swell I herein 
and cause enlarged pores and other blemishes. Poudre 
Tokalon may be obtained in all shades for I -at chemists, 
hairdressers and stores, on an absolute guarantee of 
successful results in every case, or your money will be 
refunded. A trial tube of Creme Tokalon and »»"ir'* ' 
of Poudre Tokalon, in four popular shades, will be sent 
tar 3d. in stamps by Tokalon Ltd. (iDept. 447C), 
212-214, Great Portland Street, London, W.i. 



'NOURISH ESfAND 



mnnnmEE32nj 






3/w PPINGE 
jf WAVES 



COMES 
MO ME 



Ladies' Send for 
' free fascinatingbook- 
How to PEH- 
'lCAJTENTXY Wave 
lit hair at home." Long. 
}bbed or Shingled. Not 
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MANENT Waves YOU 
:a.ST WASHOUT. Enclose 
stamp for postage. — GABY'S 
1 (The Bond Street PERMANENT 
Wavers) Dept. P.G.. S Blenheim 
Street. BOND Street. London. W.l. 



ART 




FASHION DRAWING- 

Learn this interesting art and 
earn big money. Pntur. 
BUck-and-White. Story- Illus- 
trating also taught. Lessons 
given at Studios Mom.. AJtn- or Evn.. or by post. Help 
tyren to good positions. Sketches bought and sold. — 
Terms : Secretary. 

THE COMMERCIAL ART SCHOOL, 

12-13. Henrietta Street, Suand. London. W.C2. Est. 1900 



c 



tint/ to 

fcVlOVJK & 



Ernest 
Torrenct 
and Lois Wilson in 



\orth of -36.' 




58 



Pfcl~\jre s and Pichjre poer 



APRIL 1925 



MY TRIP ABROAD 

{Continued from page 11.) 

felt, here was Life. The boulevards 
yielded up to me a veritable largesse 
of beauty and gems. But as might be 
imagined, my money didn't last very 
long — and neither did the largesse of 
the capricious boulevards. Abruptly, 
I became a mendicant who received 
scant favours. I was again desperate. 
As I had felt at the Military College 
when I lacked half an inch of chest 
expansion, so I felt in Paris, when I 
lacked the gold that was my only "open 
sesame." 

Then I heard of Monte Carlo and with 
the few dollars I had left, rushed as 
desperately to Monte Carlo to retrieve 
my fortunes, as I had formerly run to 
Paris to make good my sense of 
adventure. Monte Carlo treated me 
more shabbily than Paris. Perhaps 
that is why gambling holds no charm 
for me to-day. I am beginning to 
feel, as I go on with my diary and 
compare my present feelings and 
activities to those of bygone days, as 
though Freud were right indeed and 
most of the things we are spring from 
the sources of the things we zvere. 

A few weeks after my first depar- 
ture, I returned home, tattered and 
weary, a new — another Prodigal. 

I came home, feeling more stifled 
than ever. My experience in Paris 
had only whetted my appetite for 
foreign lands and other scenes. Even 
though they were to be scenes of trial 
— which God knows they were. 

/ wanted to get aivay. 

AH of a sudden I decided I would go 
^"^ to America . . . America and no 
place else. There I could breathe. I 
seemed to feel a mighty liberating gust 
of wind from the vast Western 



prairies. I seemed to feel my very 
spirit rise up and grow at the thought 
of New York . . . America. 

Before, however, the decision was 
reached to send me on my desired way, 
I had plenty of time to prove to every- 
one concerned that something had 
better be done about me. 

I was a bit of a Lothario, and I 
started to chase around with the show 
girls. That finished me completely 
with the decent families. They 
wouldn't have anything to do with me, 
and, of course, they wouldn't allow 
their daughters to have anything to do 
with me. As for getting away with 
anything " sub-ros-a," that, in this 
town, was impossible. The whole 
town promenaded at nights on a cer- 
tain piazza (not large in a small town), 
and the next day all of the people 
would know everything that had 
happened. So, of course, when it got 
about that I went with show girls, I 
was socially NIL. 

But I didn't care very much, except 
for the fact that it hurt my mother. 
I was still dreaming. And in my 
fantastic dreams, I thought that those 
show girls were -perfectly beautiful — 
fascinating. My impression of them 
to-day is . . . ! ? 

To me they were houris — blessed 
damosels — enchanting and enchanted 
visions of a most rare delight — 

At this juncture — lost in that bygone 
rare delight — I had better shut this 
diary again until to-morrow. And I 
must finish my letter to Natacha. . . 

TThe thought and impulse to go to 
A America became so strong within 
me that I finally communicated it to 
my mother, and she very naturally was 
overwhelmed with a sense of the 
impending loss. 

(Another instalment next month). 




Rudy's dressing room bungaloiu on the United Artists lot. 



OUR £500 COMPETITION 

List of Prize Winners. 

25 £1 Winners 

Appleby, Miss D., 1, -Shrubland Road, Colches- 
ter; Bates, Sirs. \\'., 204, Newchester Road, New 
Ferry, Port Sunlight; Blogg, Violet M., Muston, 
Bottesford, Nottingham; Burton, Miss L., 23, 
Tulip Street, Moorside, Hunslet, Leeds; Crump, 
W. H., 69, Emily Street, West Bromwich; 
Desaux, .Miss E., t.8, Cleveland Street, Fitzroy 
Square, W.l; France, Edith M., 2, William St., 
Radcliffe, Lanes; Greenwood, Miss R. B., Gar- 
bett House, Accrington, Lanes; Grevatt. Muss M., 
" The Beacon," West Hill, Hastings; Grover, 
Gladys, 113, Whippingham Road, Brighton; 
Hayward, Mrs. E., Barnfield Lodge, Teignmouth; 
Higgins, Miss H., Croft House, Pitsea, Oldham; 
Horton, Mrs. G., 17, Coj>pice Street, West Brom- 
wich; Laws, W. A., 17a, Shirley Gardens, Han- 
well, W.7; Lewis, Miss 1)., Unity Grove. Harro- 
gate; Melhuish, Miss N., r '7. Wolfington Road, 
West Norwood; Moyniham, Miss M., 7, Albert 
Terrace, Sunnyhill, Whitehaven; Oakes. Mi" B., 
Foxhangers House, Foxhangers, Devizes; Patter- 
son, Miss M., 2, Frcemantle Road, South Lowes- 
toft; Reeves, E., IS, B riant s Avenue, Caversham, 
Reading; Richards, Doreen, 83, Ninian Road, 
Roath Park, Cardiff; Stubbs, L., 26, Egerton Rd., 
Withington, Manchester; Stubbs, Linda, 12, 
Flower Street, Castle, Northwich ; Watson, A.. 7, 
Torbay Place, Holbeck, Leeds; White, Miss A., 
7, Limefield Brow, Bury, Lanes. 

50 Ten Shilling Winners. 

Adams, Miss, 26, Bulwer Street, Shepherd's 
Bush, W.l; Bailey, Miss V., 120, Alexander 
Road, Mutley, Plymouth; Briggs, F. J., 41, Con- 
duit Road, Sheffield; Brockway, Miss J. E., The 
Croft, Broadstairs; Brooks, Sliss 1)., 34, Milton 
Street, Ipswich; Chapman, N. C, 9, Weirs Lane, 
Abingdon Road, Oxford; Coppello Mrs. O, 88, 
Hoyle Street, Meadow Street. Sheffield; 
Claughton, Miss N., " Holly Dene," Hollyshaw 
Lane, Whitkirk, Leeds; Cox, Doris, 64, yueen's 
Road, Newbury; Crossley, Miss M., " Library 
House," Gardner Street, Pendleton, Manchester; 
Crump, W. H., 69, Emily Street, West Brom- 
wich; Emmins, Miss D., 19, Napier Street, City- 
Road, N.l; Finigan, Elsie, 75, Ockendon Road, 
Cinonbury, N.l; Frontin, A., Cadogan Hotel. T ; . 
Sloane Street. S.W.I; Hanson, Miss D.. 17 
Brundetts Road, C.-cum-H.. Manchester; Harris, 
Miss, 2, Craven Terrace, Hyde Park, W.2; 
Hodgkins, Miss E., 78, Third Avenue, Small 
Heath, Birmingham; Kenword, Mrs. E. C. S., 
67, Southwood Road, Rusthall, Tunbridge Wells; 
Leach, Miss E., 10, Lucknow Street, Rochdale; 
Masters, Miss D., 43, Llanthenry Road, " Har- 
lyn," Newport, Mon.; Mayo, Miss O., 36, West- 
well Road, Streatham Common, S.W. 16: 
McMullan, Miss R., 95, Goldhurst Terrace, 
Hampstead, N.W.6; Melhuish, Miss N., 97. Wol- 
fington Road, W. Norwood; Slilne, Mrs. C 40, 
Broomhill Road, Aberdeen; Mitchener, Miss M. 
L., " Med way." Sole Street, Gravesend: Moore, 
Miss M., 17, Moss Grove, Sefton Park, Liver- 
pool; Morgan, Miss C, 17, Woodfield Road. 
Tredegar; Murray, A, 39, Arkleston Road, Pais- 
ley; Niblett. \Y., 35, Station Road, Gloucester; 
Passmore, Miss M.. 94. Dalyell Road, Brixton, 
S.W.9; Pickett, P.M., 101. Villas Road, Wool- 
wich, S.E.18; Potts. Miss M., 12. Edpeley Road, 
Stockport: Reed, Miss T., 14. Purley Rise, Purley. 
Surrey; Robinson, Miss G., 12, Cummingh3m 
Avenue, St. Alban's; Russell, M. H., 62. Vale 
Road, St. Leonards-on-Sea: Ruth Primrose, 103, 
Laigham Court Road. Streatham, S.W. ; Senior, 
Miss E., 9, Humberville Roa"d. Immingham, 
Grimsby; Shone. Miss R., 19, Kingston Crescent, 
North End, Portsmouth: Sidwell. Miss L., 10, 
Hill Street. Hinckley, Leics. : Smith. Mrs. L. 
The Cottage, Morton Lees. Sheffield; Spraston, 
Mildred. i^S, Dewsbury Road. Leeds: Stone. 
Miss, Opposite White City. Anlaby Road, Hull: 
Stubbing, Miss, 13, Market Square. Bishop's 
Stortford; Tillcy. B. V., 50, Hare Lane, 
Gloucester; Turrell. Miss R.. 2. Marine Passace. 
Wellington Road. Gt. Yarmouth: Tye. W. A., 
20S. Kennington Road, S.E.11: Walker, Miss D., 
31, Campden Grove, Kensington, W.S: Wallace, 
Jean, 2. Row 124 South Quay, Gt. Yarmouth; 
Ward, G.. 7. Smalley Road, Stoke Newington, 
N.16: Wheeler, Miss B., c/'o Victoria House, 
Worcester. 

200 2/6 Winners. 

Acott, Miss E. R.. Glebe Farm. Barming, Maid- 
stone; Aked. Miss W., 10. Highfield Avenue, 
Bailiffe Bridee. Brighouse; Allen Miss A. 24, 
Eglmton Hill. Plumstead, S.E.18; Applegate, 
C. E., 50, Cloncurry Street. Fulham, S.W .6; 
Appleton, W.. 10. Sheldon Road, Cricklewood, 
N.W.2; Asher, Miss M.. 28, Silverfields Road, 
Hirrogate: Averv. Miss W., 10S. St. George's 
Road, West Hill, Hastings ; Baker, Miss J., Craig- 
lands Hvdro, Ilklev: Barnett, Mrs. A., 71. Rose- 
bery Avenue Gloucester; Benson, Miss B., 192, 
Devonshire Road. S.E.23; Benson, Miss M., ''San 
Rcmo." Broad Oaks Road, Solihull; Bent, Miss, 
Master House, Temple. E.C.4; Boad, Miss M., 
52, High Street, Garstang, Lanes; Boorman, H. 

(Continued on page 62.) 



APRIL 1925 



Picture s and Picture puer 



59 




A replica of the 
chocolate box top 
in colour platt 
form without any 
advertising and 
ready for fra m i ng 
can be obtained 

for II- 
POST FREE. 



A Beautiful Box 

OK 

WARRENS 

Beau ca i r e 
Chocolates 

with this delightful picture of 

Rudolph Valentino 

AS 

Monsieur Beaucaire 

Reproduced in many rich colours 

Warren & Co. have specially produced 
this charming " Beaucaire " box of 
chocolates for the innumerable ad- 
mirers of this talented and versatile 
actor which is on sale in most theatres 
where ihe him is being exhibited 

or 
can be obtained direct from the 
manufacturers ; 

J lb. box 3/- post free, 
I lb. box 5/6 post free. 

The standard of excellence of the 
chocolates are beyond compare 
they're W/ ~ 




HAYMA RKE ' 



~ P.ANTON HOUSE. 
LONDON, W.I 



r\ >m_ /^ RADIUM v. GREY HAIR 

Don t Go 
Grey ! 

A few application!! of 
• Car.uliuin ' will re- 
store your (ircv ll;iir to 
its full original colour, 
Lustre and beauty, with- 
out trouble or danger. 
• Caradium ' is so gradual 
in action and yields 
such perfectly natural 
results that there is not 
the slightest risk of its 
use exciting comment. 

NOT A DYE. Write for Booklet P. 

The Radio-active water from which ' Caradium ' is prepared is the 
secret of its wonderful restorative and vitalising properties. It 
stops the hair falling, eradicates dandruff, restores hair health. 

"It U Roily Wonderful." 
London, Lady H. : — " Please send by return another bottle of 
Caradium Restorer. Thecolour ot my hair has nearly returned, 
the effectexceedingallmy expectations. It is really wonderful. " 





— HAIR RESTORER 



'Caradium ' is obtainable of Hanods, Whiteleys, Selfridges (Hairdressing), py / J_ 

Army and Navy Stores, Boots, etc., or direct in plain package J I Q 

(postage 6d. extra). * / ** 

'CARADIUM' (Rtgd), P. 174 New Bond St., London, W.l. 



Miss Irene Rich 



M 



1SS IRENE RICH, 
says: — 



Star in "The Lost Lady" (Gaumont). 



" / consider Pond's Vanishing Cream and Pond's Cold Cream 
two essentials of the Toilet table. Each is supreme in its class 
and together they form a combination which the woman who 
values her complexion cannot afford to be without. 

Keep the skin of your face, neck and hands free from 
blemishes by regularly using Pond's Two Creams — 
Pond's Vanishing Cream during the daytime to protect 
from the weather and keep the complexion fresh- 
looking in spite of tiredness — Pond's Cold Cream at 
night before retiring to rest to cleanse the pores and 
tissues beneath the surface. Follow this method eveiy 
day and every day your skin will grow smoother, 
clearer and lovelier. 

"TO SOOTHE AND SMOOTH YOUR SKIN.* 



FREE SAMPIXS 

Pond's Extract Company, 103. St. 

John Street, E.C.I, will send for 3d. 

in stamps for postage and packing a 

sample tube of both creams. 



POND'S CREAMS 

From all Chemists and Stores, in jars 
at 13 and 2 6. and tubes at 7*d. 
(for handbag) and 1/-. The Cold 
Cream also in exliu large lubes, 276. 



Ponds 

Vanishing & 
Cold Creams 




60 



Pictures and P/chjrepuer 



APRIL 1925 




In a New Size 

PER BOX 1/9 

LARGER SIZE 3/- 

Yardley's 

Ereesia 
Face Powder 

AN exquisitely fine adherent 
^^ Face Powder lavishly per- 
fumed with the fascinating 
fragrance of the Freesia flower. 

In five tints : 
Natural, Rachel, White, Rose and Suntan 

Of all Chemists Coiffeurs and Stores and from 

YARDLEY & Co Ltd 

8 NEW BOND ST LONDON W 

Paris : 24 Avenue de 1* Opera 



SMALL ADVERTISEMENTS 

Rate : 3d. per word ; 
minimum 3 shillings. 



64-PAGE BOOK ABOUT HERBS and How 
to Use them, 2d. Send for one. — Trimnell, The 
Herbalist, Richmond, Cardiff. 

" WHAT MEN REALLY WANT " (fry a 
man). A book of valuable, intimate advice 
every modern girl should have. In plain 
wrapper, ' Post Free Is. from Linden-Spencer 
(Dept. E.), 3, Auckland Road, Upper Norwood,.' 
London. 

NAIL-BITING CURED AT LAST!— New dis- 
covery. No aloes, no medicine, harmless. Full 
treatment. 5s. post free (Plain Cover). — 
" Filtex Treatment," 61 (J), Tollington Park, 
London, N.4. 

THE PICTUREGOER PORTFOLIO (Second 
Series) of Kinema Celebrities containing 16 
photogravure portraits of to-day's popular Film 
Stars, each portrait size 9$ inches by 8 inches 
and all worthy of a frame. One shilling and 
twopence the set complete post free. — Picture- 
g oer Salon, 88, Long Acre, London, W.C. 

SPECIALLY DESIGNED POSTCARD 
ALBUMS, lettered on front in gold " My Film 
Favourites " and beautifully bound in stiff 
covers, assorted colours. Prices: To hold 150, 
l/6d.; to hold 200, 2/-; to hold 300, 3/-. Prices 
include postage. — Picturegoer Salon, 88, Long 
Acre, London, W.C.2. 

REAL PHOTOS OF KINEMA STARS on 
picture postcards in sepia glossy finish; over 200 
different cards in stock price 3d. each or 2/6 
per dozen. Complete list of postcards and 
Novelties sent free on application to: Picture- 
goer Salon. 88, Long Acre, Lo ndcn, W.C.2. 

" HOW TO BECOME A FILM ARTISTE." 
Contains nineteen chapters on this entrancing 
subject and covers all the ground necessary for 
an aspirant to a successful career on the Screen. 
The best book on the subject. Price 2/3d. post 
free, from : Picturegoer Salon, 88, Long Acre, 
London, W.C.2. 



MERTON OF THE MOVIES 

(Continued from Page 15^ 



Metta, counterfeiting the inflexions of 
pity. 

Her target shot her a glance of equal 
pity for her lack of understanding and 
empty-headed banter. He stalked to the 
barn-yard gate and opened it. The way 
to his haven over the border was no 
longer barred. He returned to Dexter, 
firmly grasped the bridle reins under his 
weak chin and cajoled him again to the 
watering trough. Metta Judson was 
about to be overwhelmed with confusion. 
From the edge of the trough he again 
clambered into the saddle, the new boots 
groping a way to the stirrups. The reins 
in his left hand, he swept off his ideal 
hat with a careles"s gesture — he wished he 
had had an art study made of this, but 
you can't think of everything at one time. 
He turned loftily to Metta as one who 
had not even heard her tasteless taunts. 

" Well, so long ! I won't be out late." 

lWTetta was now convinced that she had 
*** in her heart done this hero a wrong. 

" You better be here before the folks 
get back!" she warned. 

Merton knew this as well as she did. 
but the folks wouldn't be back for a 
couple of hours yet, and all he meant to 
venture was a ride at sober pace the 
length of the alley. 

"Oh, I'll take care of that!" he said. 
" A few miles' stiff gallop '11 be all I 
want." He jerked Dexter's head up, 
snapped the reins on his neck, and 
addressed him in genial, comradely but 
authoritative tones. 

"Git up there, old hoss !" 

Dexter lowered his head again, and 
remained as if 'posing conscientiously for 
the statue of a tired horse. 

" Giddap, there, you old skate!" again 
ordered the rider. 

The comradely unction was gone from 
his voice and the bony neck received a 
smarter wallop with the reins. Dexter 
stood unmoved. He seemed to be fear- 
ing that the worst was now coming, and 
that he might as well face it on that spot 






M 



as elsewhere. He remained deaf to 
threats and entreaties alike. No hoof 
moved from its resting-place. 

" Giddap, there, you old Dexter Gash- 
wiler!" ordered Metta, and was not 
rebuked. But neither would Dexter yield 
to a woman's whim. 

"I'll tell you!" said Merton, now con- 
temptuous of his mount. " Get the 
buggy whip and tickle his ribs." 

Metta sped on his errand, her eyes 
shining with the lust for torture. With 
the fraved end of the whip from the 
delivery waggon she lightly scored the 
exposed ribs of Dexter, tormenting him 
with devilish cunning. Dexter's hide 
shuttled back and forth. He whinnied 
protestingly. 

" That's the idea," said Merton, feeling 
scornfully secure on the back of this 
spiritless animal. " Keep it up ! I can 
feel him coming to life." 

Metta kept it up. Her woman's in- 
genuity contrived new little tricks with 
the instrument of torture. She would 
doubtless have had a responsible post 
with the Spanish Inquisition. 

Stirred to life bv the' tickling, Dexter 
now became more acutely aware of that 
strange, restless burden on his back, and 
was inspired to free himself from it. He 
increased his pace as he came to the gate, 
and managed a backward kick with both 
heels. This lost the rider his stirrups 
and left him less securely seated than he 
wished to be. He dropped the reins and 
grasped the saddle's pommel. 

He strangely seemed to consider the 
pommel the steering wheel of a motor- 
car. He seemed to be twisting it with 
the notion of sliding Dexter. All might 
have been well, but on losing his stirrups 
the rider had firmly clasped his legs about 
the waist of the animal. Again and again 
he tightened them, and now Dexter not 
only looked every inch a horse but very 
painfully to his rider felt like one, for 
the spurs were goring him to a most 
seditious behaviour. 

(To be Continued). 



k 




. 



W hat docs this mean, Merton?" again demanded Gash-viler. 



APRIL 1925 



..\.*-' '-. 



Picture s and Pichjre puer 



61 




Bobbed 
^^ hair 
should be wavy 

a rule wavy bobbed hair risk or trouble. And witneven 



As a rule wavy bobbed hair 
makes a girl look younger 
and prettier, while straight, 
' wispy ' bobbed hair gives 
her an older, somewhat harder 
appearance. If you would 
look younger and more attrac- 
tive be sure your bobbed (or 
shingled) hair is both lustrous 
and wavy. The secret is 
yours if you use Lavona. This 
is a wonder-liquid containing an 
exclusive ingredient that acts 
just like magic. There's posi- 
tively nothing like it for making 
hair grow and making it gleamy, 
clean-looking and with that rich, 
subtle waviness everyone ad- 
mires. Lavona frees the hair from 
greasiness, yet stimulates the 
natural oil glands to correct 
activity; it improves the colour 
wonderfully and wards off early 
_greyness. Yet there is no dye — no 



risk or trouble. And with every 
package a Lavona Shampoo 
Sachet is given free. The Lavona 
Shampoo is the world's best, 
easiest, safest, and most economi- 
cal — we give it free because of the 
danger and bother with shampoos 
containing excess soda or acid 
additions. So, for 2/1 1 you can 
get, af any chemists, a complete 
hair - beauty outfit — complete 
even to a printed guarantee of 
satisfaction or money back. If 
you want to get that wonderful 
gleamy waviness with your 
bobbed or shingled hair — be 
sure you use nothing but 

lavona 

r HairTonk&Shampoo 

1 JAompoo Fr« urith wij ptckft. 
mxtrm Shampoo* 3d. mmck only. 




For Children's Pyjamas, Sleeping Suits, 
Dainty Party and Every-Day Frocks. 

ALL LEADING DRAPERS SELL " LUVISCA" (37-38 inches 

wide) in latest shades and colourings si following reduced prices : — 

Striped Q/Q Per I PUin Q/C Per 

Designs O/O Yd. I Shades *tyO Yd. 

Also "LUVISCA" Blouse* and Pyjamas ready-to-wear 

stripes *nd designs. 
// any difficulty in citaimni " LUVISCA." pita 



e write to the Mono- 
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factmct*. COURT AULDS. Lid. (Dtp*, fe), 
C.2. ix' hn will ttnduoa the name of '.ht 
I, and an ILLUSTRATED BOOKLET giant parhealan. 



T/ie 

Springtime 
of Life! 




t 



— How to keep that youthful bloom 
throughout the years. 

All too often the alluring school-girl complexion 
is allowed to vanish with school-girl days. Yet 
simple treatment following school days will retain 
it as the greatest attraction of mature years. 

Be careful how you cleanse your skin— don't let 
harsh methods rob it of its natural delicate texture. 
Choose the facial soap which you know is so mild 
and soothing that it keeps the most sensitive skin 
smooth and soft. 

This soap is Palmolive, as millions of women 
already know. It is blended from palm and olive 
oils, known since the days of ancient Egypt as 

nature's beautifying cleansers. 
1 
It cleanses thoroughly, removing every trace of 
oil and dirt which otherwise clogs the skin pores. 
It leaves your ' skin^ soft and glowing with a 
delightful sensation of freshness. 

Used regularly, every day, Palmolive keeps your 
complexion fine of texture and free from blackheads 
and blotches. 

PALMOLIVE 

A !ov!-priced luxury. 



If you imagine that Palmolive, 
because of its superfine qualities, 
must be very expensive, you are 
wrong. Palmolive is only 6d. a 
tablet — a price which puts it within 
the reach of all for general toilet use. 



'Made it 
Canada 



62 



Pictures and Pichdrepver 



APRIL 1925 




A MIAMI 

Shampoos 

Preferred by 
all the big 
Beauty Contest 
Winners &d 



<p 



A MAGNIFICENT NEW 
NEAPOLITAN MELODY 



..': ■ ! 



Bxssion 



Valse Intermezzo 

By 

ViRGILIO 

Ranxato 




(Vic* Z/ Net 



ASCHCRBEHa HOf^OOOiCRtW In 
•8 Mortimtr Str««t London I* 1 



A GLORIOUS Italian melody, heard on the 
Continent by Mr. de Groot (the famous 
orchestral leader), and introduced by him 
at the Piccadilly Hotel with huge success. 
Singers promptly asked for an English lyric, and 
a beautiful song form is now published 

If you arc fond of rich, glowing melody, with 
more than a touch of primitive fire, ask your 
Music Dealer to try over " Passione " for you. 

Published separately as a SONG, 
PIANO SOLO and VIOLIN SOLO. 

Each 21- per copy. 

Ascherberg, Hopwood & Crew, 

16, Mortimer St., London, W. I. LTD - 



£500 COMPETITION RESULT— continued from page 58. 



Bower. Miss M., 25, Havelock Street, Glasgow, 
W.2; Bradbury, K., 43, Northside, Clapham 
Common, S.W. ; Bradley, Miss K., 32, Regents 
Square, W.C.I; Bray, Miss M. J., 3, Upper 
Patrick Street, Kilkenny; Breton, Mrs. P. A., 
8, Whitwell Road, Southsea; Brewer, Miss D., 
75, Walton Street, Oxford; Briggs, E, 41, Con- 
duit Road, Sheffield; Brooksbank, D. E., " Mos- 
lems, " Doncaster Road, Rotherham; Bruton, 
Kathleen, The Old Rectory, Whaddon, Glou- 
cester; Bumstead, F. H., Witnesham, Ipswich; 
Bunce, Miss J., " Pittenween," Paisley Road, 
West Southburne, Bournemouth, Burchill, Emily, 
2, St. James Street, Netherton, Xr. Dudley; 
Burrett, Miss P. J., 27, Vernon Road, Copnor, 
Portsmouth; Cane, Miss I., 66, Langdale Road, 
Thornton Heath; Carpenter, Doris, 16, St. Paul 
Street, Islington, N.l; Clark, Miss J., 15, Clydes- 
dale Road, floylake, Birkenhead; Clements, Miss 
K., The Grove, Withain, Essex; Cooke, Miss G, 
208, Ashmors Road W.9; Cooter, Miss B., 17, 
The Cloisters, Windsor Castle, Windsor; Cotton, 
Miss F., Fire Station, Basil Street, W.l ; Cotton, 
Miss N., 18, Turl Street, Oxford; Couthard, Miss 
P., 68, Torrington Square, W.C.; Cox, S., 61, 
Tamworth Street, Lichfield; Coxhill, Miss G., 9, 
Grovedale Road, N.19; Croft, H. C, 24, Cotham 
Vale, Bristol; Cross, Miss P., " Kuldhana," 
Vinery Gardens, Winchester Road, Southampton; 
Curtis, Mrs. E., 33, Cumming Street, King's 
Cross, N.l; Cuthbertson, Miss L., 20, Red Bridge 
Lane, E.ll; Davidson, Miss D., 71, Genesta Road, 
S.E.18; Daw, Miss T. H., 74, Beaumont Road, 
Plymouth; Dawes, Miss N., 8, Brandon Road, 
Southsea; Dennis, Mrs., 34, Pretoria Road, E.4; 
Dennison, Miss G., Waterlooville, Hants; Dewd- 
ney, Miss R., Railway Station Residence, 
Streatham, S.W.16; Dippnall, Miss D., 2, Rum- 
ford Street, Hulme, Manchester; Dixon, Miss M., 
68a, Antrobus Road, Handsworth, Birmingham; 
Doe, C, 88, Beresford Road, North End, Ports- 
mouth; Defoe, Mrs. 9a, George Street, Croydon; 
Edgcombe, Miss A., 63, Surbiton Road, Kingston- 
on Thames; Edwardes, S., 53, Princes Street, 
Southend; Ellington, Miss, 6, Dalkeith Street, 
Topper, Edinburgh; Ellis, Violet M., 41, Em- 
peror's Gate, S.W.7; Emeny, Winifred, 8, Gains- 
borough Street, Sudbury; Faiers, A. W., Linwood 
Cottage, St. Mary's Square, Newmarket; Feltham, 
D. R., " Lyndhurst," Foreland Road, Bembridge, 
I.W.J Fisher, Miss A, 63, Marsden Street, Kirk- 
ham, Preston; Flower, Miss M., 24, Harrington 
Street, N.W.I; Foster, Miss H., 18, Atkinson 
Street, Harle Syke, Burnley; Foster, Miss W., 
48, Woodlands Park Road, N.15; France, E. M., 
2, William Street, Radcliffe, Lanes.; Fritz, Elsie, 
10, Eddington Street, N.4; Frost, Marjorie J., 
7, Richmond Road, Brighton; Gallon, Miss L., 
Thistley House Farm, Pelaw-on-Tyne; Gibb, 
Bessie, 30, Hillside Crescent, Edinburgh; Gilbert 
R. L., 38, Albert Street, Ventnor, I.W.; Goddard, 
Miss V., " Marshcotes," King Edwards Avenue, 
Gloucester; Grainger, Miss K., 78, Hessel Road, 
W. 13; Greenwood, Miss A., 33, Coal Clough 
Lane, Burnley; Griffin, Mrs. D. M., 67, Don- 
caster Road, Leicester; Griffin, W. R., 38, Hart- 
land Road, Kentish Town, N.W. ; Hackett, Mrs. 
M., 74, Rosebery Street, Moss Side, Manchester: 
Hale, Miss G., 62, Panton Road, Hoole, Chester; 
Hall, Miss W., 72, George Lane, E.18; Halstead, 
Miss W., 17, Park Road, Doncaster; Hannam, 
Aliss I., 97, Netherfield Road, Nelson, Lanes; 
Harding, Irene, 211, Queen's Road, W.2; Harris, 
Miss M., 39, York Street, Oswestry: Hay, Janet 
A., 96, Victoria Road, Stechford, Birmingham; 
Heal, Miss E., 9, Abbott's Park Road, E.10; 
Heard, Miss J., Langworthing, Bideford: Hell- 
iwell, Mrs. W., 159, Railway Street, Nelson, 
Lanes; Hewings, W., 11, Claremont Road, Nor- 
wich; Heywood, Miss D., 85, Burnley Road, 
Acorington; Hebbert, Mrs. A., Off Market Street, 
Chapel-en-le-Frith, Derby; Hingston, Miss D., 43, 
Middleton Hall Road, King's Norton, Birming- 
ham; Hinton, A. E., Victoria Road, Quarry 
Bank; Hobhs, Miss L., 96. DySen's Road, N.l 8; 
Hobday, Miss P., 190, Belsize Road. N.W.c; 
Hollyman. Miss B., 29, Palmerston Road, S.W. 14; 
Holmes, Miss P., 23, Western Road, Bexhill-on- 
Sea; Hubble, G., 103, Castelnau. Barnes, S.W.13; 
Hunt, Kathleen, 85, Snow Hill, Birmingham: 
Hyde, Miss H., 20a, Peabody Buildings, Duke 
Street. S.E.I; Jackson. P., 5a, Union Road, Cam- 
bridge; Jacques, L. B., 62, Woodlands Road, 
Middlesbro'; Jaques, Miss H., 204, Clapham 
Road, S.W.9: Tee, Miss F., 22, Credon Road, 
N. Cambcrwell," S.E.; Jeffs, Miss P.. 81, Beau- 
mont Road. Chiswick, W. ; Jenkins. Miss L., 40, 
Constance Street, Newport, Mon.; Jones, R., 4 7 , 
Cawdor Road, Fallowfield, Manchester; Keen, 
W., 45, Duke Road. W.4: Kerr, Miss E.. 64, 
Hitherley Street, Scacombe: King. Mrs. F., 105, 
Bounces Road, N.9: Knapp, Miss B., Loreto 
College, Abbey Road, Llandudno; Leal, C, 17, 
Tearm Road> North End, Portsmouth: Lee. Miss 
J., 75, Phillip's Street. Aston, Birmingham; 
Lcndon, Miss G.. 10, Collett Road. Ware. Herts; 
Lewis, Miss E. W., Addison Villa, Wash I.ane, 
Timperley; Lister, Miss D., " Rosyth," Cedar 
Road. Sutton. Surrey: Little Mrs. R. M.. 29, 
Haydon Park Road, S.W. 19; Lomas, Miss "Long- 
wood." Edgeley Road, Stockport: I.ovell. Miss 
F., 92, Trinity Road. S.W.I 7; Luck. Mrs. E.C., 
2. St. Marks Crescent. Regent's Park. N.W.; 
Ludman. Doris, 32, St. Ann's Hill, Wandsworth, 



S.W. ; McCartney, Miss If., 6, Elm Grove, 
Hawick; MacCoy, Miss E, 21, Clovelly Gardens, 
Monkseaton; Mackay, Miss C, 123, Warwick 
Road, Carlisle; McMurdo, Miss, 7, Elfet Street, 
Birkenhead; McNeill, H., 22, Thomas Street, 
W.l; Manning, Mrs., 52, King Street, Ramsgate; 
Martin, Marjorie, F_, 34, Silverbirch Roil, 
Erdington, Birmingham; Martin, Miss O., 3, 
Colmes, Bank Street, Kirriemuir; May, Misa 
W., 1, Bognor Street, Battersea, S.W.8; Mills, 
Miss K..^ 4, Court Street, Faversham, Kent; 
Money, E., 4a, Green Lane, Dewsbury; Moor*, 
Miss A., 57, Greyfriars Walk, Bedford; Moore, 
Miss D., 89, Fairfax Road, N.8; Moren, Mrs. 
M., 4, South Hill Park Gardens, X.W.3; Mullin, 
Mis>, L., 2, Chester Place, Lennox Road, South- 
sea^ Murrey, Mrs. A., 70, Credenhill Stre<ft, 
S.W.16; Newev, Miss D., 54, Ravensdaye Road, 
N.16; N«wland, \V., Whitehill, Borden, Hants; 
Nixon, Miss A., 74, Franklyn Road, N.W. 10; 
Norton, Mrs. F., Oak Cottage, Burkett Street, 
King's Lynn; Oakes, Miss M., 48, Walpole Rd., 
El 7; O'Connor, B. R., 1, Harrington Street, 
Liverpool; Osborne, Miss B., Riverdale Street, 
Bridport; Owen, Mrs. A., " Normandale," Upper 
Bangor; Paqualin, Miss V., 29. Princess Avenue, 
N.3.; Parker, Miss F., 234, Fort Road, Bermond- 
sey; Parker, Miss H., 58, Richmond Street, 
Burton-on-Trent : Peacock, Miss E, 32, Renters 
Hill, Golders Green, N.W.; Pillinger, P., 4, 
Bryngwyn Road, Newport, Mon.; Pokjoy, Miss 
N., 55, Bloomfield Road, Gloucester; Parritt, Miss 
D., Bulcote School, Leyborn, Yorks; Pratt, Miss 
-P., 4, Beaconsfield Road, New Maiden; Price, 
Miss, ML, 42, Wesminster Street, Crewe; Pugh, 
Miss M., 1, Russell Road, Sefton Park, Liver- 
pool; Raistrick, Miss C, 48, Greenside, Pudsey, 
Yorks; Reay, Miss M., 16, Ferryhill Place, 
Aberdeen; Richardson, Mrs. A., 7, Mount Street, 
Harrogate; Roberts, E., 17, Gordon Ten-ace, 
Bethesda, N. Wales; Roger, Mrs. M., 17, Firs 
Glen Road, Winton Bournemouth; Ross, Miss M., 
127, High Street, N.W.10; St. John, Miss D., 
" The Meads," Amersham Common: Saunders, 
Miss E., " St. Winifred's " Claremont Road, 
Seaford; Schofield, Miss, 4, Fenton Street, 
S.E.10; Schofield, Miss A., 404, Bury New Road, 
Prestwich, Manchester; Scott, Miss D. M., 115, 
Carlton Hill, Nottingham; Sebbage, Miss M., 62, 
Croydon Road. Anerley, S.E. ; Senior, O., 34, 
College Road, Bangor; Sharp, Miss P., 26, Manor 
Grove, Peckham, S.E.15; Shepherd, E. C, R.A.F., 
S. of A. C, Lee-on-Solent; Slee, Miss C, 14, 
Rutland Gardens, Hove; Smith, Miss, I. M., 
37, West Teirace, N. Ormesby, Middlesbro'; 
Smith, R. P., 26, Gathorne Road. Southville, 
Bristol; Smith, Miss T., 62, Elden Street. Barns- 
ley; Sparkes, Mrs. J., 11, Alleyne Road, Erding- 
ton, Birmingham; Spong. Miss O., 9. Wiltshire 
Road, Thornton Heath: Starke, Miss W. D., 41, 
Laurence Buildings, Westminster, S.W.I: Steele, 
Miss M., 705, Finchley Road, N.W.2; Stephen- 
son, Miss N., " Ringdean," Northfield Road, 
Blaby, Leics. ; Stockley, Mrs. "The Lindens," 
Chesterfield Road, Mansfield; Tate, Miss E.. 
" Robin Hood," Iron Gate, Derby: Thomas, A. L. 
54, Wakefield Road, Sowerby Bridge; Thompson, 
E. A., S, Seventh Avenue, Broadway, Blackpool; 
Thomson. Miss M., 3^. Windsor Gardens, Monks- 
eaton: Thomson, Mrs. R., 13, Church Road, 
Tweedmouth, Berwick: Thomson, Miss K., 7, 
Ewenfield Road, Ayr; Usher, P., 16, Burleigh 
Street, Sunderland; Vines's, Miss. 2, Waller 
Road, New Cross Gate, S.E.14; Venton, Miss, 
54, Queen's Road, Twickenham; Waddingham, 
Miss D.. 3, Cole Park View, St. Margarets, 
Twickenham: Wain. Miss D., 65, Clyde Road, 
N.22: Walker, Miss E. M.. 9, Birch Grove, 
S.E.12: Warrington, C. E., 26, Addison Road, 
Fairview. Duhlin: Webb. Mrs. E, 49, Blamran 
Ystral, Abertillery; Webb. Miss M., South View, 
Putnoe Lane, Bedford; Wharton. Miss P.. 22, 
Abbeville Road, S.W.4; Whitmore, Miss C. 18, 
Upper Wimpole Street. W.l: Whittle. Miss I., 
249, Denmon Street, Radford, Nottingham; 
Widdop, Miss A., 176. Farfield Street, Manning- 
hnm. Bradford: Wizzell, H. J.. 72, Park Street. 
N.16: Winterbone, Mrs., 8, Fir Avenue, Run- 
corn Road, Balsall Heath, Birmingham: Wright, 
Miss I. 103, Jennyn Street, W.l; Wrigley. F, 
75, Stanley Street, Northampton. 

Winning Picture Theatre Managers. 

The prizes for Picture Theatre managers, 
totalling £17 10s. have been divided equally 
between : 

Mr. Trueman Towers (late manager), The 
Picture House, Long Row, Nottingham. 

Mr. G. Roberts, The Picture House, Cefn 
Road, Old Colwyn. 

Mr. A. R. Gambold, Castle Cinema. Swansea- 
Mr. H. Wilson, Empire Cinema, Bell Corner, 
Walthamstow, each of whom receives £4 7s. 6d. 

All prize-winners will be notified by letter. 



APR 1 1- 1925 



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64 



Picture s and Pichure Over 



APRIL 1925 




l_<? t GeoK$e Do It! 



Irene (Forest Gate). — Glad you liked 
the postcards. (1) Ivor Novello hasn't 
done any film work for some time. He 
has been playing on the legitimate stage 
and at present is appearing in Old 
Heidelberg at the Garrick Theatre, 
London. His next film will probably be 
The Rat. (2) Clive Brook is in America, 
working at the Ince Studios. (3) I'll do 
my best to get you those art plates later. 

E. F. J. (Chester).— (1) An art plate of 
Charles de Roche will appear in 
PICTUREGOER some time in the near 
future. (2) Try Famous-Players-Lasky 
Corp., 166-170, Wardour Street, London, 
W.l. for stills from The Ten Command- 
ments and The Law of the Lawless. 

E. B. (Kent). — Letters forwarded. I'm 
truly grateful for your lack of curiosity. 

Jackie's Admirer (Surbiton). — I've 
passed on your bouquet to the right 
quarter. 

Patrick (Dublin). — Some of you fans 
seem to think all film stars have Mormon 
tendencies. (1) Thbmas Meighan has 
never had more than one wife. He was 
wedded ten years ago to Frances Ring — 
and they're still married. 

Dreamer.— Delighted to find someone 
in such a contented frame of mind. It's 
a real pleasure to satisfy your curiosity 
for you. (1) Art plate of Joseph Schild- 
kraut appeared in June 1924 PICTURE- 
GOER. (2) Harry Jones was the name 



ot the boy who played opposite Betty 
Balfour in Love, Life, and Laughter. He 
is an artist and this was his first screen 
appearance. 

Zuffkins (Berks>. — It would be more 
than my life's worth to reveal the name 
of my favourite star in PICTURE- 
GOER. My safest role is a strictly 
neutral one. (1) Ramon Novarro was 
bom Feb. 6th, 1899, and Alice Terry in 
1901. (2) Carlyfe Blackwell was born in 
1888. 

A. P. (York). — Letter forwarded to 
Buck Jones. Note the interview with 
your favourite in this month's issue and 
be duly grateful. 

Another Mary (Preston). — (1) Alary 
Hay, who played " Kate " in Way Doz^n 
East is married to Dick Barthelmess. 
She is professionally a stage actress and 
dancer and hasn't done much film work, 
but you will be able to see her on the 
screen again shortly when Neiv Toys, in 
which she plays opposite Dick, is released. 

D. W. (Chester).— Sorry you've had to 
look in vain for news of Monty Banks, 
but there really hasn't been much to 
write about him lately. (1) I've for- 
warded your letter to him. (2) So far as 
I know Monty isn't married. (3) I'll see 
if I can persuade the Editor to have an 
art plate of him later on, but I'm afraid 
there isn't much chance of a long inter- 
view at present 



Scaramolche (Horsham). — (1) I think 
Ramon Novarro and Alice Terry would 
send you signed photos of themselves if 
you asked in your most ingratiating 
manner. Address them both c/o Metro- 
Goldwyn-Mayer Studios, Culver City, 
California. 

A. C. P. (Paddington). — Glad you've 
decided to become one of the " regulars.' 

(1) Barbara La Marr's address is c/o 
Metro-Goldwyn-Mayer Studios, Culver 
City, California. 

Dorine (Southsea). — Glad you find me 
such a little ray of sunshine in the home. 
My growing reputation as a wit is quite 
alarming! If this sort of thing goes on 
I shall have to invest in a new joke book 
for the new year. (1) I think if you 
wrote nicely to Ramon Novarro he would 
send you his autograph. His address is 
c/o Metro-Goldwyn-Meyer Studios, Cul- 
ver City, California. (2) Ramon was 
born in Durango, Mexico, Feb. 6, 1899. 
An art plate of him appeared in Jan. 192-1 
PICTUREGOER. (3) Alice Terry was 
born in 1901. (4) An interview with her 
and her husband, Rex Ingram, appeared 
in Dec. 1923 issue. Thanks for sparing 
me " the million other questions." These 
will do very nicely to be going on with. 

Nora S. (Lichfield).— Don't worrv, 
Nora, I think British films will hold 
their own, yet. (1) Billy Sullivan and 
Johnny Hines are both American stars. 

(2) M. Michael Floresco was the actor 
who played the part of " Morale " in the 
French serial Vindicta. 

Elmoite (Durban).— It certainly is 
fatal to possess beauty like mine. That's 
why no photo of my handsome profile 
will grace these pages. I fear it would 
prove too much for your feminine sus- 
ceptibilities. (1) Elmo Lincoln is thirty- 
five years old, has brown hair and blue 
eyes, and is 5 ft Hi ins. in height (2) 
Some of his films are The Battle of Elder 
Bush Gulch, The Clansman, Intolerance, 
The Kaiser, The Beast of Berlin, Tarzan 
of the Apes, The Romance of Tarzan. 
Elmo the Mighty, Elmo the Fearless, The 
Flaming Disc, Treasure Island, The 
Beachcomber and O